CHINESE  POTTERY  OF  THE 


PARISH -WATSON  & CO.!NC 


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https  ://arch  i ve . org/detai  Is/ch  i nesepotteryof  OOpari 


I 


No.  133 

Gallipot  with  decorated  panels 
Sung  Dynasty 


CHINESE  POTTERY  OF 
THE  HAN,  T'ANG  AND  SUNG 

DYNASTIES 

Owned  and  Exhibited  by 

PARISH-WATSON  & CO.,  INC. 


NEW  YORK 

1917 


Copyright,  1917,  by 
PARISH -WATSON  & CO.,  Inc. 


TABLE  OF  CONTENTS 


PAGE 

Foreword 9 

Introduction 11 

Han  Pottery 25 

T'ang  Wares 35 

VARIOUS  WARES 
WITH  A DESCRIPTION  OF  EACH 
SUNG  DYNASTY 

Ju 53 

Kuan 53 

Ko 54 

Ting 55 

Tz'u  Chou 58 

Chun  70 

Chien 78 

Lung-ch'uan 86 

Kuangtung 90 

YUAN  DYNASTY 

Chiin  Ware 99 

KORAI  DYNASTY 

Korean  Wares 109 


LIST  OF  ILLUSTRATIONS 

No. 

133  . . Gallipot  with  decorated  panels.  Sung  Dynasty  . . . Frontispiece 

PAGE 

38  . . Pottery  dog.  Han  Dynasty 31 

61  . . Turquoise  blue  jar  with  handles.  Dang  Dynasty 37 

62  . . Ovoid  green  vase.  Dang  Dynasty 41 

65,  66  . Pair  circular  Prunus  boxes.  Dang  Dynasty 45 

102  . . Statue  of  Daruma.  Tz'u  Chou  Ware.  Sung  Dynasty  ....  59 

109  . . Pair  of  polychrome  vases.  Tz'u  Chou  Ware.  Sung  Dynasty  . . 67 

110  . . Six-sided  polychrome  pillow.  Sung  Dynasty 63 

111  . . Purple  bottle-shaped  vase 71 

120  . . Small  jar  and  cover.  Chun  Ware.  Sung  Dynasty 83 

122  . . Bulb  bowl  of  Imperial  Chiin  Ware.  Sung  Dynasty 75 

123  . . Large  bowl  of  Imperial  Chiin  ware.  Sung  Dynasty 79 

130  . . Small  brown-splashed  tea  howl.  Chien  Ware.  Sung  Dynasty  . . 87 

131  . . Small  silver-spotted  tea  bowl.  Chien  Ware.  Sung  Dynasty  . . 87 

132  . . Large  six-lobed  tea  howl.  Chien  Ware.  Sung  Dynasty  ....  91 

137  . . Nonagonal  sacrificial  celadon  cup.  Sung  Dynasty 95 

149  . . Incense  burner  with  decoration  modelled  in  the  round. 

Chiin  Ware.  Yiian  Dynasty 101 


FOREWORD 


This  collection  represents  the  fruit  of  seventeen  years’  intensive  col- 
lecting in  the  far  East.  When  Mr.  H.  A.  E.  Jaehne,  of  Tokyo,  Japan, 
first  began  to  collect,  few  Westerners  realized  the  beauty  and  bigness 
of  the  early  Chinese  wares.  With  great  discernment,  foresight,  and  ap- 
preciation, Mr.  Jaehne  sought  out  and  obtained  many  fine  specimens. 
The  group  grew  very  slowly,  for  the  Chinese  were  loath  to  part  with 
their  treasures,  well  knowing  their  artistic  and  intrinsic  value.  These 
pieces  he  put  aside  for  himself,  being  unwilling  to  part  with  them  until 
he  had  made  the  comprehensive  collection  here  described.  This  con- 
sists of  many  unique  specimens,  rare  shapes  and  designs,  the  colour  of 
the  pieces  and  their  forms  well  illustrating  the  types  one  usually  reads 
of  in  books  only.  They  represent  examples  of  the  best  work  of  the 
Chinese  potters  from  the  Han  to  the  Ming  Dynasty,  covering  a period 
of  about  thirteen  hundred  years.  There  is  naturally  a limited  number 
of  these  choice  examples  that  have  survived  the  vicissitudes  of  time, 
and  this  number  is  yearly  decreasing;  but  the  demand  for  them  in- 
creases at  such  a rate  that  seldom  can  more  than  a very  few  pieces  be 
assembled  and  exhibited  at  one  time. 

In  order  to  make  this  exhibition  as  representative  as  possible  of  the 
early  wares,  we  have  augmented  the  Jaehne  Collection  with  rare  exam- 
ples recently  acquired  from  the  Adolphe  Grosjean  Collection. 


INTRODUCTION 


IF  we  try  to  trace  the  beginnings  of  pottery  in  China,  we  are  taken  far 
back  into  that  misty,  semi-mythical  period,  some  twenty-five  hun- 
dred years  before  Christ,  to  the  reigns  of  Huang-ti  and  of  Shun, 
who  are  the  accredited  founders  of  the  ceramic  arts.  These  early  wares 
must  have  been  rather  crude  and  technically  defective,  for  it  was  not 
until  the  Chou  Dynasty  (b.c.  1122-256)  that  the  processes  of  fashioning 
on  the  wheel  and  moulding  were  described.  In  this  period  the  utensils 
of  earthenware  ( pi-ki ) were  mostly  of  the  nature  of  funeral  urns,  liba- 
tion jars,  and  cooking  vessels — either  sacrificial  or  utilitarian. 

After  the  fall  of  the  Chou  Dynasty  (b.c.  256)  the  country  was  divided 
into  feudal  states  which  in  time  were  conquered  and  bound  into  one 
vast  empire  by  the  Ch'in  tyrant,  who  styled  himself  Shih  Huang-ti,  or 
First  Emperor.  In  this  short  dynasty  (b.c.  220-206),  only  paralleled 
in  history  by  the  meteoric  career  of  Napoleon,  many  great  things  were 
accomplished.  The  empire  was  consolidated  by  building  roads,  by 
erecting  the  Great  Wall  for  protection  against  the  Tartar  hordes  of  the 
North,  by  forming  provincial  governments,  and  by  crystallizing  the 
national  system  of  chirography  into  a definite  science.  The  Chinese 
were  disarmed,  and  the  title  and  style  of  emperors  were  affected  by  the 
Ch'in.  It  is  said  that  this  tyrant  caused  all  books  dealing  with  the  past 
to  be  destroyed  so  that  he  might  start  with  a clean  record,  untrammelled 
by  the  teachings  of  the  sages.  The  destruction,  however,  was  due  per- 
haps as  much  to  the  civil  wars,  which  never  ceased  during  this  dynasty, 
as  to  the  systematic  persecution  of  literature,  the  latter  being  directed 
more  against  free  political  thought  than  against  learning.  Schools  were 
established  under  governmental  supervision,  but  a strict  censorship, 
known  as  the  “Fire  of  Ch'in,”  was  instituted.  Under  such  conditions 

[113 


INTRODUCTION 


of  unrest,  we  do  not  expect  to  see  an  advance  in  ceramics;  and  it  is 
not  until  the  next  dynasty,  that  of  Han,  that  the  potter  takes  a decided 
step  forward. 

With  the  advent  of  the  Han  Dynasty  (b.c.  206  to  a.d.  220)  a period  of 
great  energy  and  expansion  commences.  We  hear  of  expeditions 
to  Turkestan,  Fergana,  Baktria,  Sogdiana,  and  Parthia.  These  ex- 
peditions were  at  times  of  a military  nature,  at  others  of  a philosoph- 
ical and  romantic  character  due  to  the  interest  which  the  Taoist  stories 
of  the  West  had  awakened.  It  was  through  such  enterprises  that  the 
Chinese  were  brought  in  contact  with  the  civilizations  of  Mesopotamia, 
Greece,  and  Rome,  whose  influence  upon  the  arts  and  industries  of  Han 
created  a new  school.  The  archaic  Chou  motives,  the  meaning  and  ori- 
gin of  which  had  become  vague,  were  now  for  the  most  part  supplanted 
by  the  more  fertile  ideas  which  came  pouring  in  from  the  West.  Most 
prominent  among  these  was  the  naturalistic  treatment  of  animals  that 
played  such  a leading  role  in  the  older  forms  of  Babylonian,  Assyrian, 
and  Persian  art.  These  animals  were  not  merely  used  in  decorations 
on  utensils  and  weapons,  but  in  famous  hunting  scenes,  in  which  were 
darting  horses  and  chariots,  charging  lions,  and  wounded  animals.  Be- 
sides these  there  were  also  curious  winged  creatures,  bulls  and  lions,  of 
a symbolic  nature,  sometimes  massively  treated,  at  others  finely  mod- 
elled as  capitals  of  columns;  the  sacred  Babylonian  tree — in  later  Per- 
sian design  called  the  “Tree  of  Life” — with  its  strange  branching  and 
intertwisting  forms  of  foliage,  its  firm  line  tracery  of  stems,  and  its 
feathery  plumage  of  leaves;  the  formal  use  of  continued  flower  and 
rosette  patterns;  the  glazes  on  Mesopotamian  pottery— both  on  tiles 
and  vases;  the  bronze  mirrors  and  many  other  new  things,  must  have 
made  a profound  impression  on  the  minds  of  these  travellers. 

In  this  period  the  Chinese  found  out  how  to  make  glaze  for  their 
pottery— a knowledge  which,  so  far  as  we  know,  they  did  not  possess 
prior  to  this  time.  With  the  introduction  of  new  forms  of  ornament 
and  design,  and  the  art  of  glazing,  a new  field  opened  up  to  the 
potter,  and  artists  for  apparently  the  first  time  realized  the  possi- 
bilities that  lay  before  them.  A lead  glaze  was  employed,  varying  in 
colour  from  green  to  brownish  yellow,  deep  brown  and  occasionally 

[12] 


INTRODUCTION 


mottled  brown.  Ornament  was  either  moulded,  stamped,  or  applied. 
Unlike  the  chalky  biscuits  of  Mesopotamia,  the  Han  pottery  was  hard 
and  more  bricklike. 

Among  the  new  shapes  is  the  so-called  “Hill  Jar.”  This  consists  of  a 
low  cylindrical  body,  usually  supported  by  three  short  legs  fashioned 
in  the  shape  of  bears — the  emblem  of  strength  and  a favourite  device  of 
the  Sons  of  Han.  The  cover  is  conical  and  consists  of  a three-peaked 
hill  at  whose  base  are  four  high,  crested,  wavelike  motives,  between 
and  sometimes  below  which  are  all  sorts  of  animals.  Possibly  the  sub- 
ject represents  the  sea-girt  isles  of  the  Taoist  Immortals;  for  during 
this  dynasty  Taoism  held  a very  prominent  place  in  the  minds  of  the 
Chinese.  The  most  frequent  treatment  of  the  body  of  the  jar  is  a wide 
band  on  which,  in  relief,  are  depicted  many  sorts  of  wild  animals  be- 
tween hills  or  waves;  sometimes  the  decoration  consists  simply  of  a 
narrow  band  at  top  and  bottom,  between  which  and  opposite  to  each 
other  are  two  monster  masks  holding  rings;  again,  hunting  scenes  are 
portrayed  in  which  men  on  galloping  horses  shoot  at  fleeing  animals 
with  bows  and  arrows.  These  forms  of  decoration  enclosed  in  bands 
were  also  applied  to  the  equators  of  finely  moulded  tall  vases,  with 
small  base,  full-flaring  centre,  and  long  neck  expanding  above  into  a 
wider  lip.  Bronze  forms  with  handles  of  monster  masks  holding  rings, 
lamps  of  original  and  graceful  form,  and  grain  jars  of  fairly  tall  cylin- 
drical shape  with  covers  like  roofs,  were  then  for  the  first  time  used. 

Besides  vases  and  utensils  there  was  a whole  menagerie  of  miniature 
animals,  human  beings,  houses,  etc.,  executed  in  pottery  and  often  cov- 
ered with  the  same  green  glaze.  Owing  to  decomposition  consequent 
upon  long  and  undisturbed  burial,  the  glaze  has  frequently  become 
iridescent  and  shimmery  like  gold  or  silver.  These  objects  were  prob- 
ably buried  with  the  dead  for  the  purpose  of  providing  the  spirit  with 
the  means  of  pursuing  the  habits  of  its  lifetime.  In  the  seventh  cen- 
tury b.c.  the  Scythian  and  Turkish  custom  of  burying  alive  the  wives, 
personal  attendants,  animals,  and  private  property  of  a deceased  noble- 
man was  introduced  into  China;  and  this  later  practice  of  burying  clay 
figurines,  etc.,  was  only  a humane  version  of  that  once  terrible  custom. 

A permanent  caravan  trade  between  China  and  the  Roman  Empire 

D3J 


INTRODUCTION 

was  established  in  the  second  century  b.c.;  its  route,  crossing  vast  des- 
erts and  immense  mountain  ranges,  occupied  two  years  in  circuit. 
From  Baktria  came  the  knowledge  of  grape  culture;  from  Parthia,  the 
famous  Nicaean  horses  and  the  pomegranate;  glass,  enamels,  steel, 
elephants,  etc.,  were  sent  in  exchange  for  the  enormous  masses  of  silks, 
used  by  the  Romans  for  clothing,  which  came  from  the  far  distant 
looms  of  China. 

Of  great  importance  among  the  Western  arts  learned  at  this  period 
was  that  of  depicting  scenes  on  walls.  As  a result  of  this  we  have  two 
wonderful  series,  carved  in  the  stones  of  the  caves  of  Shantung,  illus- 
trating the  whole  round  of  Chinese  history  and  tradition  as  known  to 
Han  scholars.  These  carvings  are  dated  and  portray  the  oldest  elabo- 
rate representations  of  human  beings  that  exist  in  China  to-day.  One 
set  dates  from  the  first  century  b.c.,  the  other  from  the  second  century 
a.d.,  so  that  together  they  cover  nearly  the  whole  of  the  Han  Dynasty; 
and  if  studied  in  close  relation  to  the  fine  mass  of  Taoist  and  social 
poetry,  will  give  us  a clear  conception  of  the  mentality  of  that  period. 

In  67  a.d.  Buddhism  was  introduced  into  China,  bringing  Indian  civi- 
lization and  culture  in  its  train.  Not,  however,  until  the  third  or  fourth 
century  did  the  new  religion  begin  to  exercise  appreciable  influence 
upon  Chinese  thought  and  art.  Bronze  sculpture  and  the  industrial 
arts  connected  with  temple  architecture  and  ritual  were  at  first  the  only 
exponents  of  this  new  movement.  Through  Alexander’s  conquests 
Greek  art  had  come  in  contact  with  Buddhist  art,  leaving  its  imprint 
upon  it  and  being  in  turn  passed  on  to  China,  where  its  influence  is  re- 
flected in  ceramic  shapes  and  ornaments,  especially  of  the  T'ang  Dy- 
nasty, 618-906  a.d. 

The  disintegration  of  the  Roman  Empire  was  already  under  way 
when  the  Han  Dynasty  collapsed.  Through  civil  war,  China  was  broken 
up  once  more  into  a group  of  feudal  states;  and  the  Tartars,  coming  in 
over  the  Great  Wall,  gradually  snatched  province  after  province  from 
the  North,  forcing  the  Chinese  southward  to  seek  safety  on  the  banks 
of  the  Yangtse.  The  unity  of  Han  art  was  broken.  Owing  to  the  weak- 
ened state  of  both  empires,  the  caravan  trade  became  so  fraught  with 
peril  and  uncertainty  that  commerce  between  the  West  and  the  East 

[14] 


INTRODUCTION 


was  practically  abandoned.  With  the  source  of  their  inspiration  cut 
off,  Western  designs  lost  their  hold  upon  the  Chinese,  and  before  long 
fell  into  disuse. 

This  period,  however,  is  one  of  great  interest  in  the  ceramic  world, 
for  a kind  of  incipient  porcelain  was  now  for  the  first  time  made.  A 
ware  of  great  hardness,  of  a greyish  body,  resonant,  and  having  a 
felspathic  glaze,  has  been  found  with  relics  of  late  Han  workmanship. 
The  vessels  are  of  Han  form  and  fashioned  after  bronze  types.  Records 
of  the  Wei  Dynasty  (a.d.  220-264)  state  that  vases  of  this  period  were 
made  in  Si-nan  Fu  especially  for  the  court.  This,  if  true,  would  repre- 
sent the  earliest  allusion  to  pottery  deemed  worthy  of  being  sent  to  the 
palace;  and  it  is  quite  possible  that  pottery  of  this  class  would  be  ad- 
mitted to  court. 

In  the  first  quarter  of  the  fifth  century  a.d.,  the  Chinese  states  were 
divided  into  the  North  and  South  Dynasties,  the  former  being  taken 
over  by  the  Tartar  conquerors,  the  latter  governed  by  emperors  of  pure 
Chinese  race,  having  their  capital  on  the  Yangtse  River  near  the  pres- 
ent Nanking.  The  change  from  the  more  arid  and  uninteresting  plains 
of  the  more  ancient  North  to  the  picturesque  and  luxuriant  South,  with 
its  beautiful  lakes  and  magnificent  mountains,  romantic  gorges  and 
dense  primeval  forests,  acted  as  a stimulus  to  the  mind  of  the  Chinese 
and  opened  wide  their  soul  to  the  beauty  of  nature.  This  was  the  coun- 
try of  Laotse,  the  Individualist  and  founder  of  Taoism,  and  of  the  first 
great  elegiac  poet.  The  somewhat  worn  imagination  of  the  Chinese 
was  here  refreshed  and  replenished  with  new  power.  The  south  of  In- 
dia, either  through  Burma  or  along  the  opening  lines  of  coast  trade, 
now  became  easily  accessible,  and  the  revived  Persian  dynasty,  the  Sas- 
sanian,  had  some  slight  intercourse  with  the  Chinese  by  sea.  Buddhism 
here  found  a natural  ally  in  mystical  and  poetical  Taoism — the  born 
foe  of  Confucian  Socialism — and  the  two  quickly  joined  forces.  The 
translation  of  Sanscrit  and  Pali  texts  was  now  accomplished  for  the 
most  part,  and  the  enormously  rich  literary  treasures  of  the  Indian 
mind  became  accessible  to  the  imaginative  Chinese. 

We  now  come  upon  three  inventions  which  are  of  untold  importance 
in  Oriental  art:  the  substitution  of  a fine-grained  paper — in  place  of 

nis] 


INTRODUCTION 

bamboo  and  clumsy  papyrus — and  of  a flexible  silk,  as  new  forms  of 
writing  material;  the  manufacture  of  a rich  dark  ink  from  lamp-black 
mixed  with  glue;  and  an  improved  form  of  hair  pencil  which  started 
with  a firm  thick  base  and  thinned  at  the  top  into  a fine  point,  giving 
great  elasticity  and  variety  of  line.  Chinese  characters  soon  became 
transformed  into  a pure  caligraphic  art,  the  flexibility  of  perfect  brush 
stroke  uniting  with  decorative  proportioning.  It  did  not  take  artists 
long  to  realize  the  opportunity  these  new  implements  had  created;  and 
the  celebrated  Ku  K'ai-Chih  (fifth  century  a.d.),  with  his  marvellous 
flow  of  line,  stands  out  as  one  of  the  great  artists  of  all  times. 

It  was  probably  in  the  short-lived  Ch'i  Dynasty  (479-502  a.d.)  that 
Buddhist  painting  was  evolved  through  the  desire  to  substitute  tinted 
drawings  of  altarpieces  for  the  statuesque  originals.  The  figures  were 
drawn  with  a fine  outline  and  then  filled  in  with  colours.  Landscape 
painting  was  better  understood  and  its  theory  gradually  developed. 

During  the  Liang  Dynasty  (502-557  a.d.),  Daruma,  the  twenty-eighth 
Buddhist  patriarch,  came  to  western  China  from  India  and  resided  at 
court  in  a cave  temple  secluded  among  the  mountains.  Amid  these  pic- 
turesque scenes  he  evolved  the  thought  and  discipline  of  a new  Bud- 
dhist sect,  the  Zen,  which  became  such  a potent  force  in  the  literature 
and  art  of  Sung.  Poetry,  landscape  and  Buddhist  painting  developed 
enormously  during  this  period,  but  almost  none  of  the  latter  remains 
to-day. 

The  sculpture  of  the  North  shows  the  rhythmic  curvature  and  at- 
tenuated forms  which  bespeak  Baktrian  or  Grecian  and  Persian  influ- 
ence. These  characteristics  are  present  even  in  the  earliest  and  ruder 
Chinese  Himalayan  bronzes.  Later  forms  became  enriched  by  Bud- 
dhist art,  and  greater  refinement  of  proportion  accompanied  the  influx 
of  this  new  influence. 

In  the  South  the  statues  were  mostly  of  a square,  heavy,  and  severe 
type,  with  hard,  sharp  features  and  projecting  angular  nose,  the 
draperies  opening  in  little  shell-shaped  folds.  This  is  a more  primitive 
art  than  that  of  the  North,  and  shows  no  trace  of  Greco-Baktrian  grace 
and  very  little  of  Indian  suavity. 

Under  the  Sui  Dynasty  (581-617  a.d.)  China  was  welded  together  and 

[16] 


INTRODUCTION 


achieved  a national  unity  such  as  she  had  not  experienced  for  nearly 
four  hundred  years.  The  Northern  and  Southern  schools  of  art,  and 
the  social  tendencies  to  which  they  belonged,  joined  hands  and  formed 
a union  that  embraced  their  many  rich  diverging  proclivities.  The 
religion,  art,  and  literature  of  the  whole  past  were  thus  brought  to  a 
focus;  and  with  the  comprehensive  knowledge  that  this  gave,  new  con- 
ceptions of  a freer  form  were  attempted  that  passed  beyond  anything 
that  had  yet  been  attained  and  which,  at  the  same  time,  made  use  of  all 
that  had  gone  before.  This  short  period  acted  as  a prelude  to  the  glory 
of  T'ang,  which  was  thus  made  possible  by  consolidating  the  states  into 
a solid  empire.  In  592  a.d.  printing  from  wooden  blocks  was  first  in- 
vented, but  this  new  method  did  not  come  into  extensive  use  until  after 
the  middle  of  the  tenth  century,  when  the  great  Sung  Dynasty  started 
its  vast  publications. 

Under  the  T'ang  Dynasty  (618-906  a.d.)  the  Chinese  Empire  reached 
the  zenith  of  its  power.  Magadha,  the  capital  of  Central  India,  was 
taken  by  a Chinese  general  in  648  a.d.  Chinese  junks  visited  the  Per- 
sian Gulf,  and  the  northern  boundaries  of  the  empire  were  extended 
into  Turkestan.  Here  the  expeditions  of  Sir  Aurel  Stein  and  Professor 
Griinwedel  found  traces  of  a flourishing  civilization  among  the  sand- 
buried  cities  in  the  regions  of  Turf  an  and  Khotan.  Arabs  settled  in  the 
province  of  Yunnan,  in  Canton  and  the  coast  towns.  Buddhist  propa- 
gandism  was  most  active  early  in  this  period,  and  its  headquarters  were 
shifted  from  India  to  China.  Hindu  monks  brought  along  with  them 
sacred  images  and  pictures,  and  at  the  same  time  introduced  their  tra- 
ditional canons  of  art,  which  have  been  handed  down  to  the  present 
time  practically  unchanged. 

The  desire  to  visit  places  sacred  to  the  memory  of  Buddha  caused 
many  Chinese  to  make  pilgrimages  to  India,  where  they  were  able  to 
gain  a knowledge  of  Indian  civilization  at  first  hand.  This  period  is 
famed  in  history  as  the  golden  age  of  literature  and  art,  and  in  it,  among 
other  famous  poets,  was  the  poet-painter  Wang  Wei,  of  whom  it  was 
said  that  “his  poems  were  pictures  and  his  pictures  poems.” 

The  art  of  the  potter  became  more  mature.  New  forms  and  new 
decorations  were  invented  or  adapted,  the  influence  of  Indian,  Persian, 

DH 


INTRODUCTION 


and  Byzantine  art  being  especially  noticeable.  In  Persia  the  last  of  the 
Sassanian  kings  sought  help  from  China,  and  intercourse  between  Per- 
sia and  China  was  made  possible  by  means  of  the  northern  trade  route 
through  Turkestan  into  western  Asia. 

According  to  Brinkley,  “the  growing  popularity  of  tea  provided  a 
new  function  for  vessels  of  pottery,  the  merits  of  which  were  judged 
rather  by  the  effect  of  their  coloured  glazes  in  contrast  with  the  colour 
of  infused  tea  than  by  their  ceramic  qualities.”  While  the  body  of 
the  vessels  was  usually  as  fine  as  pipe-clay,  it  varied  in  hardness  from 
soft  earthenware,  easily  scratched  by  a knife,  to  hard  porcellanous 
stoneware.  In  colour  this  biscuit  varied  from  a light  grey  and  pale  rosy 
buff  to  white,  like  plaster  of  Paris.  The  lead  glaze,  now  covered  with  a 
mesh  of  accidental  crackle,  was  thin  and  sometimes  had  a coating  of 
slip  between  it  and  the  body  in  order  to  give  it  a richer  and  more  solid 
appearance.  Fluidity  of  glaze  is  the  cause  of  the  streakiness  of  the  col- 
ours, this  being  one  of  the  characteristics  of  T'ang  pottery.  Frequently, 
the  only  decoration  of  a piece  would  be  its  splotched  glaze  of  green  or 
blue,  amber  and  cream.  Decorations  were  either  painted  on  or  incised 
under  the  glaze,  or  both.  The  “Prunus”  design  now  appears  for  the 
first  time. 

Mortuary  figures  of  men,  dromedaries,  court  ladies,  mountebanks, 
etc.,  were  used  for  the  same  purpose  as  those  of  Han,  but  they  were 
better  modelled  and  show  greater  spirit,  skill,  and  delicacy.  These 
were  either  decorated  with  unfired  pigment  or  covered  with  a thin 
glaze  of  pale  straw  colour  or  light  transparent  green.  Amber  brown 
and  leaf-green  glazes,  with  occasional  splashes  of  blue,  were  also 
used.  Horse  statues  are  especially  numerous,  and  are  portrayed 
with  a faithfulness  to  nature  which  betrays  the  deep  pride  and  admira- 
tion that  the  men  of  T'ang  felt  for  these  splendid  creatures.  The  horse 
is  represented  with  arching  neck,  flowing  mane,  and  sturdy,  lithe  body, 
on  which  are  the  double-peaked  saddle  and  ornamented  trappings — the 
whole  being  rendered  with  great  spirit  and  character.  To  this  period 
likewise  belong  those  wonderful  seated  statues  of  Lohans,  which,  un- 
like the  mortuary  figures,  were  not  made  in  a mould,  but  were  modelled 
in  the  round.  These  masterpieces  of  sculpture  are  strongly  reminis- 

[18] 


INTRODUCTION 


cent  of  the  portrait  work  of  the  Italian  Renaissance.  One  feels  that 
they  are  not  mere  clay  forms  but  sentient  beings,  thoughtful  and  com- 
posed, and  far  removed  from  the  cares  and  trials  of  this  world.  The 
rendering  of  the  folds  of  drapery  and  the  modelling  of  hands  and  feat- 
ures show  a thorough  knowledge  of  form  and  anatomy  such  as  we  do 
not  often  associate  with  the  average  more  or  less  conventional  statues 
of  the  East.  About  the  second  half  of  the  T'ang  Dynasty  mortuary 
statues  of  pottery  were  superseded  by  wooden  ones;  and  the  custom  of 
cramping  women’s  feet  also  became  prevalent  towards  the  end  of  that 
dynasty.  The  celebrated  collection  at  Nara,  Japan,  consisting  of  the 
personal  belongings  of  the  Emperor  Shomu  (709-784  a.d.),  forms,  in 
many  respects,  the  most  comprehensive  exhibition  of  T'ang  craftsman- 
ship existing  to-day. 

Five  short-lived  dynasties  occupied  the  interval  of  fifty-four  years 
between  the  T'ang  and  Sung  periods.  These  are  famous  in  ceramic 
history  for  two  wares:  the  pi  se,  or  secret  ware,  of  Yiieh  Chou,  and  the 
Ch'ai  of  Cheng  Chou.  The  former  was  made  only  for  the  princes  of 
Wu  and  Yiieh,  of  the  Ch'ien  family,  who  reigned  at  Hung  Chou  from 
907-976  a.d.  An  early  writer  compares  this  ware  to  the  Korean  wares 
of  the  Korai  period  (918-1392  a.d.)  that  have  a soft  grey-green  glaze  of 
the  celadon  type,  and  of  which  there  are  many  specimens  extant.  In 
regard  to  the  Ch'ai  ware,  we  are  told  that  the  Emperor  Shih  Tsung 
(954-959  a.d.) , when  asked  what  kind  of  ware  he  would  require  for 
palace  use,  commanded  that  for  the  future  its  colour  be  “the  blue  of  the 
sky  after  rain,  as  seen  in  the  rifts  of  the  clouds.”  Another  writer  de- 
clares that  it  was  “blue  like  the  sky,  brilliant  like  a mirror,  thin  like 
paper,  and  resonant  as  a musical  stone.”  Crackled,  rich,  refined,  and 
unctuous  are  some  more  of  its  attributes.  On  the  other  hand,  still  an- 
other writer  says  that  the  ware  was  thick,  and  a coarse  yellow  clay  was 
also  said  to  cling  to  its  foot.  With  these  conflicting  comparisons  and 
the  lack  of  any  specimens  of  the  ware,  we  are  at  a loss  to  determine  its 
real  nature. 

Under  the  Sung  Dynasty  (960-1279  a.d.)  the  Chinese  Empire  was 
firmly  established,  but  the  boundaries  were  contracted  and  the  Tartar 
tribes  on  the  northwest,  having  become  independent,  remained  a con- 

D9] 


INTRODUCTION 


slant  menace  to  the  frontiers  of  China.  Art  and  literature  expanded 
under  Imperial  patronage,  but  the  arts  of  war  declined.  Again  and 
again  an  ignominious  peace  was  bought  from  these  desert  warriors.  At 
last  not  even  money  could  hold  them  in  check,  and  they  burst  upon 
northern  China,  overwhelming  its  peaceful  citizens  and  driving  them 
across  the  Yangtse  River,  where  they  founded  their  capital  of  Hang 
Chou  in  1127  a.d.  Marco  Polo,  who  visited  this  new  seat  of  government 
in  1280  a.d.,  declared  that  it  was  even  then  “beyond  dispute  the  finest 
and  the  noblest  city  in  the  world.”  Connoisseurs  and  collectors  were 
numerous,  and  many  treatises  were  written  on  artistic  subjects,  en- 
cyclopaedias were  published,  and  illustrated  catalogues  issued  by  order 
of  the  emperor  and  his  followers.  The  key-note  of  Sung  art  was  im- 
pressionism and  naturalism.  Poets  and  painters  went  direct  to  Nature 
and  from  her  received  the  vivid  impressions  which  they  so  graphically 
portrayed.  The  potter  came  into  his  own,  and  was  put  on  a level  with 
the  sculptor  of  bronze  and  jade.  Imperial  patronage  stimulated  his 
imagination,  and  the  results  he  obtained  are  the  admiration  of  the 
twentieth  century,  which  appreciates  their  subtle  beauties  of  form,  col- 
our, glaze,  and  texture.  These  were  simply  made,  and  in  the  main 
decorated  by  genuine  potter  methods.  Painted  decoration  was  little 
used  except  at  Tz'u  Chou,  where  swift,  impressionistic  sketches  in  an 
iron  black  under  the  glaze,  or  in  enamels  over  the  glaze,  ornamented  the 
wares.  Decoration  was  obtained  by  moulding,  stamping,  applying  clay 
reliefs,  carving  or  etching  with  a fine  point.  These  methods  were  em- 
ployed before  the  clay  was  baked,  the  glaze  being  added  afterwards. 
This  process  naturally  limited  the  pallet  of  the  potter  to  those  colours 
which  could  withstand  the  great  heat  required  to  bake  the  body.  The 
bodies  were  for  the  most  part  of  a hard  porcellanous  or  stoneware 
nature,  relatively  little  earthenware  being  used.  “The  glazes  were 
thick,  uneven,  bubbly,  and  hard,  and  the  crackle,  where  it  exists,  is  posi- 
tive and  well  defined.  The  glaze  was  lustrous,  translucent,  and  beauti- 
ful in  its  colouring.  Slightly  varying  conditions  of  firing  and  the  pres- 
ence or  absence  of  an  infinitesimal  proportion  of  iron  or  copper  oxide 
in  body  or  glaze  would  make  two  vases  of  the  same  body  and  glaze 
quite  different.” 

C2on 


INTRODUCTION 


Unable  to  resist  the  increasing  pressure  of  the  Tartars,  the  Sungs 
sought  aid  of  the  Mongols,  who,  under  Genghis  Khan,  drove  the  former 
from  the  empire,  but  in  turn  placed  themselves  on  the  throne.  “The 
Yuan  Dynasty  (1280-1368  a.d.)  was  established  under  Kublai  Khan,  a 
grandson  of  Genghis  Khan,  who  annexed  the  Uigur  Turks  and  de- 
stroyed the  Tangut  kingdom,  swept  over  Turkestan,  Persia,  and  the 
steppes  beyond,  ravaged  Russia  and  Hungary,  and  even  threatened  the 
existence  of  western  Europe.”  China  was  completely  overrun  by  these 
nomad  horsemen.  A Chinese  contemporary  describes  the  ruin  of  the 
porcelain  industry  at  Ching-te  Chen  at  this  time  by  exorbitant  taxation, 
so  that  the  potters  were  driven  away  from  the  old  Imperial  manufac- 
tory there  to  start  new  kilns  in  other  parts  of  the  province  of  Kiangsi. 

Although  the  Mongols  brought  China  very  little  that  was  new,  they 
well  understood  how  to  use  what  was  already  there.  The  famous 
palace  of  Kublai  Khan,  which  Coleridge  describes  in  such  an  enchant- 
ing manner,  was  none  other  than  “the  old  summer  residence  of  the 
Sung  Emperors  at  K'ai-feng  Fu,  in  the  province  of  Honan,  which  was 
dismantled  and  carried  away  piecemeal  to  be  built  up  again  in  the  park 
of  the  new  Mongolian  capital  at  Shangtu,  outside  the  Great  Wall  of 
China.”  Whole  families  of  Chinese  artisans  and  engineers  were  sent 
to  Persia  in  large  numbers.  Chinese  porcelain,  decorated  with  blue 
under  the  glaze,  shows  strong  Persian  influence;  and  it  was  probably 
from  the  Persians  that  the  idea  for  this  beautiful  form  of  decoration 
was  obtained. 

In  their  turn  the  Mongols  were  driven  out  of  China,  and  the  Ming 
Dynasty  (1369-1644  a.d.),  of  Chinese  origin,  was  established  by  a young 
bonze  named  Chu  Yiian-chang. 

We  wish  to  acknowledge  our  indebtedness  to  the  following  authors: 
R.  L.  Hobson,  Dr.  Stephen  W.  Bushell,  Dr,  Berthold  Laufer,  Captain 
F.  Brinkley,  and  Ernest  F.  Fenollosa. 


HAN  DYNASTY 


HAN  DYNASTY 

206  b.c-220  a.d. 

The  pottery  of  this  period  was  either  of  a bricklike  nature,  usually  cov- 
ered with  a green  glaze,  or  of  a slightly  fired,  unglazed,  grey  clay.  It 
was  not  until  the  end  of  Han,  or  a little  later,  that  an  incipient  porcel- 
lanous  stoneware  was  made.  Jars  and  lamps  of  many  shapes,  often 
decorated  with  figures,  etc.,  in  low  relief,  and  mortuary  figures  of  men 
and  animals,  houses,  sheep-pens,  etc.,  were  the  principal  ceramic  prod- 
ucts of  this  dynasty. 

1-6  Prehistoric  faces,  semicircular  in  shape,  the  eyes,  nose,  and  mouth  moulded 
in  bas-relief.  The  body  varies  from  a grey  to  brick  coloured  clay,  which  has  been 
slightly  fired.  These  are  of  Scythian  origin  and  were  found  in  Inner  Mongolia,  in 
the  province  of  Ordos,  near  where  the  Hoang-ho  River  branches  to  the  west. 

Average  length : 9 Ys  inches.  Average  height : inches.  Average  depth : 1 inch. 

7 Well-head,  with  flanged  rim  whose  sides  project  and  cross  each  other  at  the 
corners,  made  of  slightly  fired  grey  clay.  The  four  sides  are  divided  into  panels 
containing  animals,  fish,  men,  scrolls,  and  geometric  designs,  in  bas-relief.  The 
exterior  side  of  the  rim  has  a lattice  pattern  in  panels.  Excavated  from  tombs  in 
the  province  of  Shenshi  or  Honan. 

Han  Dynasty. 

Length:  9 ^ inches.  Width:  7 inches.  Height:  5*4  inches. 

8 Well-head  of  slightly  fired  grey  clay.  On  each  side  is  a sunken  panel  in  which 
are  animals,  or  men  and  animals,  in  relief.  The  four  corner  edges  are  formed 
like  fluted  columns  and  set  in  from  the  edge  of  the  base,  which  is  recessed  on  the 
short  sides. 

Han  Dynasty. 

Length : 8M>  inches.  Width:  5%  inches.  Height : 4%  inches. 

9 Rectangular  well-head,  with  flanged  rim,  made  of  slightly  fired  grey  clay, 
burned  a reddish  brown.  The  decoration  on  the  four  sides  is  of  Scythian  origin, 
and  represents  men  fighting  various  monsters,  the  figures  being  in  bas-relief.  This 


HAN,  T ANG  AND  SUNG  POTTERIES 

is  a most  unusual  specimen  and  must  have  been  made  early  in  the  Han  Dynasty. 
Excavated  from  tombs  in  the  province  of  Slienshi  or  Honan. 

Han  Dynasty. 

Length : 8^  inches.  Width : 5%  inches.  Height:  3%  inches. 

10  Well-head,  with  flanged  rim  whose  sides  project  at  the  corners  and  cross  each 
other.  The  four  sides  of  the  well  are  decorated  with  impressed  square  and  circle 
designs.  The  body  is  a slightly  fired  grey  clay. 

Han  Dynasty. 

Length:  9%  inches.  Width:  6%  inches.  Height:  47/16  inches. 

11  Lamp  and  stand  of  slightly  fired  grey  clay,  the  cover  of  which  is  pierced  by 
five  holes  for  wicks.  The  stem  that  supports  the  oil  cup  is  formed  of  four  figures, 
two  men  and  two  bear-like  animals,  alternating.  The  flaring  bell-shaped  base  and 
cover  are  divided  into  panels  in  which  are  archaic  animal  designs  in  relief.  The 
exterior  of  the  cup  is  decorated  with  a row  of  tooth-shaped  objects,  also  in  relief. 
This  is  a most  unusual  example  of  early  Han  pottery,  and  was  excavated  from  a 
tomb  in  the  province  of  Shenshi. 

Han  Dynasty. 

Diameter:  5 inches.  Height:  9V±  inches. 

12-13  Two  statuettes,  with  graceful  flowing  robes,  made  of  slightly  fired  grey 
clay.  The  bodies,  having  been  formed  in  moulds,  are  hollow. 

Han  Dynasty. 

Width:  1%  inches.  Length:  6%  inches. 

14  Statuette  of  a man  wearing  a loose  coat,  with  short  flaring  sleeves,  and 
bloomer-like  trousers  gathered  in  at  the  knees,  but  full  at  the  feet.  The  material 
is  a slightly  fired  grey  clay,  and  the  figure,  being  cast  in  a mould,  is  hollow. 

Han  Dynasty. 

Width:  2V2  inches.  Length:  Gy2  inches. 

15  Woman’s  head  of  slightly  fired  grey  clay  encrusted  with  a thin  layer  of  mud. 
The  features  are  very  subtly  and  slightly  modelled. 

Han  Dynasty. 

Width:  4 inches.  Length:  4^  inches.  Thickness : 3%  inches. 

16-17  Statuettes  of  man  and  woman  with  gracefully  flowing  robes,  the  former 
wearing  short  baggy  trousers.  The  features  are  especially  animated.  The  ware  is 
a slightly  fired  grey  clay,  and  the  figures,  being  made  in  moulds,  are  hollow. 

Han  Dynasty. 

Width:  2%  inches.  Length:  7V2  inches. 

C26] 


HAN  POTTERY 


18  Recumbent  figure  of  a camel  made  of  slightly  fired  grey  clay  and  coloured  with 
an  unfired  red  pigment.  On  its  back  is  a well-filled  pack,  as  though  prepared  for 
a journey. 

Han  Dynasty. 

Width:  4%  inches.  Length:  10 V2  inches.  Height:  5 inches. 

19  Beautiful  model  of  a Chinese  farm-house  and  walled-in  court.  In  the  latter 
are  miniature  pigs,  a trough,  basin  and  ladle,  and  the  farmer  himself— all  sepa- 
rate figures  modelled  with  great  spirit.  The  house  and  wall  are  covered  with 
heavy  tiles.  The  former  stands  on  a platform,  approached  by  a flight  of  steps, 
decorated  with  impressed  square  and  circle  designs.  At  right  angles  to  these  is  a 
roofless  sort  of  pen  with  wide  doorway.  These  objects  are  made  of  slightly  fired 
grey  clay  that  has  become  so  polished  that  it  looks  like  black  granite.  Excavated 
in  Shenshi  or  Honan  province. 

Han  Dynasty. 

Width:  8 inches.  Length:  121/2  inches.  Height:  7%  inches. 

20  Two  statuettes  of  men  seated,  made  of  hard  greyish  stoneware,  and  covered 
with  a green  glaze  which  has  become  iridescent. 

Han  Dynasty. 

Height:  3r/±  inches.  Width:  2 inches. 

21  Two  statuettes  of  women  seated  and  holding  babies  in  their  arms,  similar  in 
body  and  glaze  to  preceding  statuettes. 

Han  Dynasty. 

Height:  2V2  inches.  Width:  1%  inches. 

22  Rooster  of  reddish  buff  pottery,  covered  with  a green  glaze  that  has  become 
silvery  iridescent. 

Han  Dynasty. 

Height:  4 inches.  Length:  4 inches. 

23  Standing  figure  of  a man  with  high  cap  and  stiff  dress,  his  hands  meeting  in 
front.  The  body  is  a reddish  buff  pottery  covered  with  a green  glaze  that  has  be- 
come silvery  iridescent.  The  figure  is  hollow  as  far  as  the  waist. 

Han  Dynasty. 

Height:  7]A  inches.  Width:  3 % inches. 

24  Seated  figure  of  a dog,  of  bricky  pottery,  covered  with  a dark  green  glaze 
which  has  become  a greenish  silver. 

Han  Dynasty. 

Height:  5%  inches.  Length:  4^2  inches. 


HAN,  T'ANG  AND  SUNG  POTTERIES 

25  Beautiful  porringer  made  of  hard  pinkish  pottery  and  covered  with  a yel- 
lowish green  glaze  now  almost  entirely  coated  with  a layer  of  silvery  iridescence. 
The  handle  is  formed  like  a dragon’s  head.  Two  incised  lines  are  on  the  outside 
just  below  the  rim,  and  the  fiat  base  is  mostly  unglazed. 

Han  Dynasty. 

Diameter:  4%  inches.  Length  of  handle:  3 inches. 

26  Two  small  vases  with  swelling  centres  and  wide  bases,  their  short  necks  flar- 
ing out  into  cup-like  mouths.  The  brickish  pottery  is  covered  with  a green  glaze 
encrusted  with  a silvery  iridescence  that  gives  it  the  appearance  of  green  bronze. 

Han  Dynasty. 

Height:  5%  inches.  Diameter:  4 % inches. 

27  Circular  sheep-pen,  containing  three  standing  sheep,  made  of  reddish 
pottery  and  covered  with  a green  glaze  which  has  become  silvery  iridescent  and 
encrusted  with  clay.  The  pen  has  a rectangular  opening  beneath  the  wide  flanged 
rim,  below  which,  on  the  inside,  is  an  indented  line. 

Han  Dynasty. 

Diameter:  8*4  inches.  Height:  3 inches. 

28  Well  with  pulley  attachment  and  jar  resting  on  flanged  rim.  The  body  is 
a bricky  pottery  covered  with  a green  glaze  which  is  now  silvery  iridescent.  This 
is  a fine  specimen  and  in  perfect  condition.  The  base  is  unglazed. 

Han  Dynasty. 

Height:  9 inches.  Diameter:  6 inches. 

29  Two  jars,  with  sloping  shoulders  and  slightly  curving  sides,  made  of  brick- 
like pottery  and  covered  with  a green  glaze  now  silvery  iridescent.  The  bottoms 
are  glazed. 

Han  Dynasty. 

Height:  5^  inches.  Diameter:  6j4  inches. 

30  Convex  disk  made  of  brickish  pottery  and  decorated  with  two  archaic  dragons 
and  a small  animal  in  relief.  The  glaze  is  a yellowish  green  with  passages  of  a 
darker  green. 

Han  Dynasty. 

Diameter:  5%  inches.  Thickness:  1 inch. 

31  Convex  disk  made  of  brickish  pottery  and  decorated  with  two  archaic  dragons 
and  a small  animal  in  relief.  Tbe  glaze  is  a greenish  yellow  and  much  decom- 
posed. 

Han  Dynasty. 

Diameter:  5%  inches.  Thickness:  1 inch. 


HAN  POTTERY 


32  Graceful  rounded  bowl  with  flat,  flanged  lip,  made  of  hard  buff  pottery  and 
covered  with  a mottled  green  glaze  that  has  become  silvery  iridescent.  The  foot 
is  unglazed  and  without  a rim. 

Han  Dynasty. 

Height:  2%  inches.  Diameter:  7%  inches. 

33  Miniature  cooking-stove  of  light  buff  pottery  covered  with  a dark  green  glaze 
which  has  become  coated  with  a layer  of  silvery  green  iridescence.  This  in  turn  is 
encrusted  with  mud.  The  stove  is  oblong  in  shape,  but  the  rear  corners  are 
rounded.  The  top  is  pierced  by  three  holes  with  sides  slanting  up  from  the  sur- 
face of  the  stove.  On  the  inside,  cups  have  been  placed  beneath  the  holes  to  form 
receptacles.  The  opening  to  the  fire  chamber  is  a low,  wide  rectangle,  above 
which,  and  projecting  beyond  the  top  of  the  stove,  can  be  seen  the  door.  On  each 
side  of  this  opening  is  the  figure  of  a man  in  relief,  one  standing  and  the  other 
kneeling,  in  the  attitude  of  tending  the  fire.  A lattice  pattern,  in  slight  relief,  dec- 
orates the  straight  sides,  and  on  the  top,  around  the  cooking  holes,  are  circular 
knob-like  projections  which  are  supposed  to  represent  utensils,  etc.  This  is  an 
exceedingly  fine  specimen  of  mortuary  pottery. 

Han  Dynasty. 

Length:  10%  inches.  Width:  7%  to  7%  inches.  Height:  3%  inches. 

34  Two  ducks  made  of  hard  bricklike  pottery  covered  with  a green  glaze  which 
has  become  silvery  iridescent  and  encrusted  with  clay.  One  duck  is  standing  and 
the  other  is  in  a swimming  attitude.  Their  bodies  are  hollow. 

Han  Dynasty. 

Height:  6%  inches;  4 inches.  Length:  5%  inches;  4 inches. 

35  “Hill  jar,”  with  cover,  made  of  brickish  pottery  covered  with  a dark  green 
glaze  now  iridescent  and  coated  with  clay.  The  cover  represents  the  sea-girt  isles 
of  the  Taoist  Immortals,  inhabited  by  animals.  The  jar  is  very  simply  decorated 
with  a narrow  band  at  top  and  bottom,  and  two  animal  masks  with  rings,  all  in 
slight  relief  and  of  bronze  form.  Three  hear-like  feet  support  the  jar. 

Han  Dynasty. 

Diameter:  7%  inches.  Height:  9%  inches. 

36  “Hill  jar,”  with  cover,  made  of  brickish  pottery  and  covered  with  a leaf-green 
glaze,  now  iridescent  and  coated  with  clay.  The  cover  represents  the  wave-girt 
isles  of  the  Taoist  Immortals,  on  which  are  various  recumbent  animals.  The  wide 
band  surrounding  the  jar  is  decorated  witli  waves  and  animals  in  bas-relief,  and 
is  supported  by  three  legs  formed  like  bears — the  emblem  of  strength.  The  inside 
of  the  jar  is  glazed,  but  its  under  side  and  the  inside  of  the  cover  are  unglazed. 

Han  Dynasty. 

Diameter:  9 inches.  Height:  12  inches. 


HAN,  T'ANG  AND  SUNG  POTTERIES 

37  “Hill  jar”  of  brickish  pottery  covered  with  a dark  green  glaze  now  beautifully 
iridescent.  The  decoration  consists  of  a series  of  hills  between  which  are  many 
animals,  all  modelled  in  relief.  The  three  short  legs  are  formed  like  bears — a 
favorite  Han  device  and  symbolic  of  strength. 

Han  Dynasty. 

Diameter:  8%  inches.  Height:  614  inches. 

38  A sturdy  dog  with  curled  tail,  cocked  ears,  wide  open  eyes,  and  raised  head, 
as  though  violently  barking.  The  four  legs  are  firmly  placed  and  the  whole  body 
is  tense  with  effort.  Statues  of  dogs  were  placed  on  graves  to  keep  guard  by  night 
lest  evil  spirits  might  disturb  the  dead.  The  hard  buff  pottery  is  covered  with  a 
green  glaze  of  the  regular  Han  type,  and  over  this,  almost  completely  hiding  it,  is 
a layer  of  wonderful  gold  and  silver  iridescence,  over  which  are  coatings  of  clay. 
On  each  side  of  the  head  are  three  indented  horizontal  lines,  and  at  the  back  of 
the  head,  between  the  ears,  is  another  one.  The  nose  and  lips  are  also  wrinkled 
with  lines. 

This  is  an  important  piece,  both  on  account  of  its  size  and  execution,  and  is  in  al- 
most perfect  condition. 

Han  Dynasty. 

Height:  12%  inches.  Length:  12%  inches. 

( Illustrated ) 

39  Large  rectangular  tray  of  reddish  buff  pottery  covered  with  a thin  green  glaze 
which  has  become  silvery  iridescent.  The  high  edges  slope  down  toward  the  cen- 
tre of  the  tile,  the  under  side  of  which  is  unglazed. 

Han  Dynasty. 

Length:  18  inches.  Width:  12y2  to  12%  inches.  Thickness:  1:y6  inch. 


No.  38 
Pottery  dog 
Han  Dynasty 


\ 


T'ANG  DYNASTY 


TANG  DYNASTY 

618-906  a.d. 

The  art  of  the  potter  became  more  mature  during  this  golden  age  of 
Chinese  culture;  new  forms  were  invented  or  adapted,  glazes  were 
often  polychrome,  and  designs  were  executed  with  great  skill,  delicacy 
and  distinction.  The  wares  varied  from  a chalky  pottery  to  a porcel- 
lanous  stoneware,  ranging  in  colour  from  rosy  buff  to  plaster  of  Paris. 
Mortuary  statuettes  were  beautifully  modelled  and  displayed  a grace 
and  dignity  unsurpassed  in  later  times.  These  subjects  lift  the  veil,  as 
it  were,  from  our  eyes,  and  give  us  an  intimate  view  of  the  manners  and 
costumes  of  that  great  period. 

40  Pear-shaped  vase  with  flaring  lip,  made  of  maroon-coloifred  pottery,  hard 
fired,  and  covered  with  a creamy  slip  over  which  is  a transparent  frosted  glaze  of 
a creamy  tinge.  The  decoration,  painted  under  the  glaze  in  a reddish  brown,  con- 
sists of  primitive  flower-and-leaf  designs  bordered  by  three  stripes  below  the  neck, 
two  near  the  foot  and  one  at  the  lip.  The  foot  is  mostly  covered  with  slip,  but  is 
not  glazed.  This  is  one  of  the  earliest  examples  of  painted  decoration,  and  is  of 
great  interest. 

Diameter : 4%  inches.  Height : 8 inches. 

41  “Hill  jar”  of  brickish  pottery  covered  with  a brownish  green  glaze.  The  deco- 
ration, in  relief,  consists  of  two  animal  masks  with  rings  and  various  hills,  between 
which  are  many  animals.  The  three  short  legs  are  shaped  like  bears.  A Han  type. 

T'ang  Dynasty. 

Diameter:  9 inches.  Height:  7 inches. 

42  “Hill  jar,”  with  cover,  made  of  brickish  pottery  and  covered  with  a brownish 
green  glaze  that  has  become  iridescent  and  coated  with  clay.  The  cover  repre- 
sents the  sea-girt  isles  of  the  Taoist  Immortals.  The  jar,  supported  on  three  short 
bear-shaped  legs,  is  decorated  with  a band  of  ornament  in  relief,  consisting  of  two 
animal  masks  with  rings  and  various  animals  and  waves  or  hills.  This  is  a late 
example  of  Han  type. 

T'ang  Dynasty. 

Diameter:  8%  inches.  Height:  IOV2  inches. 


HAN,  T ANG  AND  SUNG  POTTERIES 

43  Two  round  boxes  with  straight  sides  and  covers,  made  of  cream-coloured  pot- 
tery covered  with  a creamy  slip,  over  which  is  a thin  transparent  colourless  glaze 
tinged  with  green.  Except  for  the  inside  bottom  of  one  box,  which  is  glazed  green, 
the  bases  and  insides  of  the  boxes  are  unglazed. 

T'ang  Dynasty. 

Height:  inches.  Diameter:  3%  inches. 

44  Candlestick  made  of  close  whitish  pottery  covered  with  a creamy  slip  over 
which  is  a colourless,  transparent  glaze.  Above  the  flaring  base  is  a wide  dish 
from  which  rises  the  stem.  Around  the  latter  are  two  twisted  snakelike  dragons. 
A little  distance  below  the  short,  straight  neck  is  another  dish  like  the  lower  one, 
only  much  smaller.  This  is  a most  unusual  specimen  of  the  finest  quality. 

T'ang  Dynasty. 

Greatest  diameter : 8 inches.  Height : 9 inches. 

45  Small  amphora-shaped  vase  with  swelling  shoulders  and  long,  ringed  neck 
which  expands  at  the  mouth  into  a cuplike  form.  The  two  handles  are  formed 
like  dragons  which  rise  from  the  shoulders  of  the  vase,  their  mouths  biting  its  lip. 
The  body  of  close,  smooth  white  pottery  is  covered  with  a creamy  slip  over  which 
is  a transparent  colourless  glaze. 

T'ang  Dynasty. 

Diameter:  5 inches.  Height:  9%  inches. 

46  Amphora-shaped  vase  with  swelling  body  and  ringed  neck  expanding  at  the 
mouth  into  a cuplike  form.  The  handles  consist  of  two  dragons  which  rise  from 
the  shoulders,  their  mouths  biting  the  lip  of  the  vase.  On  the  shoulders  are  various 
mask  and  head  ornaments  that  have  been  applied  to  the  body.  The  latter  is  a 
smooth  whitish  pottery  covered  with  a creamy  slip  over  which  is  a close  trans- 
parent glaze.  This  is  a very  fine  example  of  a typical  T'ang  shape. 

T'ang  Dynasty. 

Diameter:  9^2  inches.  Height:  17^  inches. 

47  A most  unusual  pillow  of  pinkish  buff  pottery  covered  with  a creamy  slip  over 
which  is  a transparent  colourless  glaze.  The  stand  consists  of  a recumbent  female 
figure  which  supports  the  head-rest.  The  under  side  of  the  latter  is  formed  like 
a lotus  leaf,  the  end  of  the  stem  being  held  by  the  figure.  The  upper  side  is  deco- 
rated with  a beautifully  drawn,  conventionalized  peony  with  stem  and  leaves. 
The  lines  of  the  design  have  been  cut  through  the  creamy  slip,  and  the  ground  of 
the  pattern  removed,  exposing  the  pinkish  buff  body.  The  head-rest  is  concave, 
but  the  back  and  front  edges  curl  under. 

T'ang  Dynasty. 

Width:  8%  inches.  Depth:  7 inches.  Height:  6 inches. 


No.  61 

Turquoise  blue  jar  with  handles 
T'ang  Dynasty 


T ANG  WARES 

\ 

48  Short,  stocky  figure  of  a dwarf  made  of  smooth,  close,  buff  pottery.  The  large 
square  face  was  once  covered  with  a pinkish  pigment,  and  the  eyes  are  black,  the 
lips  red.  On  his  head  is  a curious  hat,  high  in  the  back  and  tight  in  front,  on  which 
are  vestiges  of  black  paint.  His  undergarment,  covered  with  red,  is  mostly  hidden 
by  an  outer  garment,  like  a coat,  which  fits  tightly  at  the  waist.  The  right  arm, 
free  from  the  coat  and  bare  to  the  elbow,  is  drawn  up  and  held  close  to  the  chest. 
The  flesh  is  pink  and  the  hand  is  tightly  closed.  His  short  legs  and  feet  are  en- 
cased in  black  boots  resting  on  an  oblong  base. 

T'ang  Dynasty. 

Width:  2%  inches.  Height:  5 inches.  Thickness:  1%  inches. 

49  Short,  stocky  figure  of  a dwarf  made  of  smooth,  close,  buff  pottery.  This  is 
in  every  respect  similar  to  the  preceding,  except  that  the  coat  is  red  and  the  under 
garment  a dark  reddish  brown. 

T'ang  Dynasty. 

Width:  2%  inches.  Height:  5 inches.  Thickness:  1%  inches. 


50  Six  small  figures  of  women  seated  on  square  bases,  their  arms  in  various  posi- 
tions. The  low-necked,  long-sleeved,  tightly  fitting  bodices  and  voluminous  flow- 
ing skirts  are  painted  with  an  unfired  red  or  dark  brown  pigment.  On  the  skirts 
are  stripes  which  possibly  indicate  the  many  folds  of  the  thin  draperies.  The  hair, 
now  uncoloured,  is  parted  in  the  middle  and  piled  up  high  on  each  side  at  the  back 
in  wing-shaped  forms.  The  lips  are  red  and  the  eyes  black.  The  corners  of  the 
bases  are  painted  either  red  or  dark  brown,  in  each  case  the  opposite  colour  from 
that  of  the  stripes  on  the  skirts,  in  order  to  set  off  the  latter.  The  material  is  a 
smooth,  close,  buff  pottery,  and  the  figures  are  hollow. 

T'ang  Dynasty. 

Average  diameter  of  bases : 4 inches.  Average  height  of  figures : 6%  inches. 

51  Graceful  figure  of  dancer  resting  on  left  knee,  on  square  base,  the  right  leg 
being  stretched  out  in  front.  Her  supple  body,  bending  forward,  is  turned  to  the 
right.  Both  arms  are  outstretched,  one  in  front,  the  other  in  the  rear,  and  from 
the  elbows  flowing  sleeves  depend.  An  unfired  red  pigment  originally  covered  the 
low-necked,  tightly  fitting  waist,  voluminous  flowing  skirt,  and  natural  sized  feet, 
but  this  has  mostly  vanished.  The  skirt  is  also  decorated  with  blackish  stripes 
which  possibly  indicated  the  many  folds  of  the  thin  drapery.  On  the  uncovered 
part  of  the  square  base  remnants  of  a green  pigment  are  still  visible.  The  hair, 
once  all  black,  is  parted  in  the  middle  and  piled  up  high  on  each  side  at  the  back 
in  wing-shaped  forms.  Small  fragments  of  a gold-leaf  band  still  adhere  to  the 
head.  The  material  is  a smooth,  close,  buff  pottery,  and  the  figure  is  hollow. 

This  costume  was  worn  during  the  most  brilliant  period  of  the  celebrated  T'ang 
Dynasty,  near  the  end  of  the  eighth  century.  This  date  is  confirmed  by  the  fact 


HAN,  TANG  AND  SUNG  POTTERIES 

that  women  had  not  yet  become  addicted  to  binding  their  feet,  a custom  that  came 
into  vogue  towards  the  latter  part  of  the  dynasty. 

T'ang  Dynasty. 

Diameter  of  base : 5%  inches.  Height  of  figure : 7^4  inches. 

52  Kneeling  figure  of  a woman  playing  a mandolin-shaped  instrument  and  rest- 
ing on  a square  base.  The  low-necked,  long-sleeved,  tightly  fitting  waist  and  long 
sash  were  originally  covered  with  an  unfired  red  pigment  which  has  now  mostly 
disappeared.  The  voluminous  flowing  skirt  is  decorated  with  dark  stripes  which 
possibly  indicated  the  folds  of  the  thin  drapery.  The  hair,  once  black,  is  parted 
in  the  middle  and  piled  up  high  on  each  side  at  the  back  in  wing-shaped  forms. 
The  eyes  are  black  and  the  lips  red.  The  material  is  a smooth,  close,  buff  pottery, 
and  the  figure  is  hollow. 

T'ang  Dynasty. 

Diameter  of  base : 4%  inches.  Height  of  figure : 7^  inches. 

53  Kneeling  figure  of  a woman  resting  on  a square  base.  Her  arms  are  bent  at 
the  elbow  and  in  her  hands  are  two  small  cymbals.  The  low-necked,  long-sleeved, 
tightly  fitting  waist  and  long  sash  were  originally  covered  with  an  unfired  red 
pigment  which  has  mostly  disappeared.  The  voluminous  flowing  skirt  is  deco- 
rated with  dark  stripes  which  possibly  indicated  the  many  folds  of  the  thin 
drapery.  Her  hair,  once  black,  is  parted  in  the  middle  and  piled  up  high  on  each 
side  at  the  back  in  two  wing-shaped  forms.  The  lips  are  red.  The  material  is  a 
smooth,  close,  buff  pottery,  and  the  figure  is  hollow. 

T'ang  Dynasty. 

Diameter  of  base : 4%  inches.  Height  of  figure : 7%  inches. 


54  Kneeling  figure  of  a woman  resting  on  a square  base.  Her  hands  meet  in 
front,  above  her  waist,  and  must  originally  have  held  something,  as  a hole  has 
been  drilled  through  them.  The  low-necked,  short-sleeved  waist  and  long  sash 
still  retain  patches  of  unfired  green  pigment.  The  arms  were  a bright  red.  The 
voluminous,  flowing  skirt  is  decorated  with  pink  stripes.  Her  hair,  once  black, 
is  parted  in  the  middle  and  piled  up  high  on  each  side  at  the  back  in  two  wing- 
shaped forms.  Fragments  of  a gold  band  still  adhere  to  the  hair  in  front.  The 
material  is  a smooth,  close,  buff  pottery,  and  the  figure  is  hollow. 

T'ang  Dynasty. 

Diameter  of  base:  4%  inches.  Height  of  figure:  8 inches. 

55  An  incense  box  with  cover,  shaped  like  a butterfly  and  resting  on  an  oval  base 
that  flares  out.  The  body,  of  a pale  buff  pottery,  is  covered  with  a creamy  slip 
over  which  is  a thin  transparent  crackled  glaze  splashed  with  green.  The  whole 


No.  62 

Ovoid  green  vase 
T’ctng  Dynasty 


/ 


T ANG  WARES 

box,  outside  as  well  as  inside,  except  for  a few  places,  is  completely  glazed.  The 
top  is  decorated  with  a butterfly  design  in  slight  relief,  as  though  pressed  from  a 
mould. 

T'ang  Dynasty. 

Height:  1%  inches.  Length:  3 inches.  Width:  2%  inches. 

56  Finely  modelled  camel’s  head  of  pinkish  buff  pottery  covered  with  a creamy 
slip,  over  which  is  a transparent  glaze  varying  in  colour  from  a yellowish  cream 
to  a deep  golden  brown.  The  open  mouth  of  the  camel  is  unglazed. 

T'ang  Dynasty. 

Length : 8%  inches.  Thickness : 2%  inches. 

57  Large  head  of  a camel  with  wide-opened  mouth  showing  tongue  and  teeth,  as 
though  angry.  The  pinkish  buff  pottery  body  is  covered  with  a creamy  slip  over 
which  is  a transparent  glaze.  The  hair  on  neck  and  top  of  head  varies  from  a 
blackish  brown  to  a light  golden  brown,  the  rest  of  the  head  being  a pale  yellowish 
cream  streaked  with  green. 

T'ang  Dynasty. 

Length:  11  inches.  Thickness:  3J/2  inches. 

58  Small  tripod  incense  burner  of  pale  buff  pottery  covered  with  a marbled 
glaze  of  various  amber  brown  and  yellow  shades  in  a marbled  pattern.  The  base 
and  legs  are  unglazed. 

T'ang  Dynasty. 

Diameter : 3%  inches.  Height : 21/4  inches. 

59  Small  rounded  bowl  with  contracting  mouth  and  short  cylindrical  spout.  The 
light  buff  pottery  body  is  covered  with  a thin  glaze  of  deep  blue  which  stops  well 
above  the  foot.  The  inside  is  partially  covered  with  a transparent  colourless  slip. 

T'ang  Dynasty. 

Diameter:  inches.  Height:  3 inches. 

60  Slender  pear-shaped  vase  with  long  neck  and  slightly  expanding  lip.  The 
pale  buff  body  is  covered  with  a beautifully  marbled  glaze  of  white  and  pinkish 
red,  which  varies  in  tone  from  dark  to  light,  melting  into  the  white.  The  glaze 
stops  high  above  the  foot.  This  is  a most  unusual  example  and  is  one  of  the  gems 
of  the  collection. 

T'ang  Dynasty. 

Diameter:  2%  inches.  Height:  71/4  inches. 

61  Swelling  ovoid-shaped  vase  of  light  buff  pottery,  having  its  two  loop  handles 
at  the  base  of  the  neck  connected  by  a collar.  The  opalescent  glaze  of  old  tur- 


HAN,  T'ANG  AND  SUNG  POTTERIES 

quoise  blue  is  minutely  crackled  and  encrusted  with  reddish  earth.  The  lip,  which 
has  been  broken,  is  encased  in  a copper  band.  The  glaze  completely  covers  the 
vase,  including  the  base,  which  is  slightly  concave.  The  form  of  this  jar  is  truly 
noble  and  the  beauty  of  its  glaze  is  impossible  to  describe.  Persian  influence  on 
Chinese  art  is  here  especially  noticeable,  for  this  specimen  might  easily  be  taken 
for  a fine  piece  of  Rakka  ware. 

T'ang  Dynasty. 

Height:  13  inches.  Greatest  diameter:  10  inches. 

(Illustrated) 


62  Graceful  ovoid-shaped  vase  of  hard  buff  pottery  covered  with  a very  thin 
glaze  of  many  shades  of  green,  varying  from  emerald  to  almost  yellow,  and  hav- 
ing the  appearance  of  bronze.  The  short  neck  flares  out  at  the  wide,  flat  lip. 
Owing  to  long  burial  the  glaze  has  become  encrusted  with  a shimmery  gold  and 
silver  coating,  and  the  green  seen  through  this  gives  a most  pleasing  effect.  The 
foot  is  unglazed  and  slightly  recessed. 

This  piece  is  considered  one  of  the  gems  of  Mr.  Jaehne’s  collection. 

T'ang  Dynasty. 

Height:  1VA  inches.  Diameter:  6%  inches. 

(Illustrated) 


63  Two  wine  cups  made  in  the  form  of  boots.  Their  body  is  a soft  buff  pottery 
covered  with  a thin  transparent  green  glaze,  which  covers  most  of  the  bases. 

T'ang  Dynasty. 

Height  of  both:  27/s  inches.  Width:  3%  inches;  3x/2  inches. 


64  Large  bowl  with  short,  flaring  neck,  wide-swelling  shoulders,  and  flaring  foot. 
The  pale  buff  body  is  covered  on  the  outside  with  an  amber-coloured  glaze,  and 
on  the  inside  with  one  of  leaf-green.  At  the  base  of  the  neck  is  a narrow  border  of 
fleurs-de-lis,  below  which  is  a wavelike  pattern  with  small  oval  bosses.  Except  for 
three  small,  bare  spaces  near  the  foot,  the  rest  of  the  body  is  completely  covered 
with  irregular,  oval-shaped  knobs,  like  grains,  packed  close  together.  On  the  in- 
side of  the  foot,  which  is  unglazed,  is  a large,  many-petalled  flower  in  relief. 

T'ang  Dynasty. 

Diameter:  9 inches.  Height:  6 inches. 


65  Circular  box  and  cover  made  of  smooth,  light  buff,  soft  pottery.  The  lid  is 
covered  with  a mottled,  deep  greyish-blue  glaze,  which  is  relieved  by  six  cream 
Prunus  blossoms  with  golden  brown  centres.  The  straight  sides  have  alternate 
stripes  of  cream  and  golden  brown,  and  where  the  latter  colour  meets  the  blue,  a 


Nos.  65  and  66 
Pair  circular  Prunus  boxes 
Dang  Dynasty 


T ANG  WARES 

green  is  the  result.  The  base  is  unglazed,  save  where  the  brown  enamel  has  run 
on  to  it  from  the  sides.  Inside,  the  lower  half  of  the  box  is  covered  with  a golden 
brown  glaze,  while  the  upper  half  is  bare. 

Diameter:  3 inches.  Height:  1 inch. 

(Illustrated) 

66  Another  box,  same  as  above,  except  that  the  Prunus  blossoms  have  cream  cen- 
tres and  golden  brown  petals. 

T'ang  Dynasty. 

Diameter:  215/16  inches.  Height:  1%  inches. 

( Illustrated ) 


67-69  Three  small  jars  with  covers,  made  of  buff  pottery  covered  with  a trans- 
parent glaze  streaked  with  green  and  amber  enamels.  This  runs  down  the  sides, 
stopping  at  uneven  distances  from  the  bottoms,  which  are  unglazed. 

T'ang  Dynasty. 

Height:  2%,  3,  3%  inches.  Diameter:  3%,  3XA,  3%  inches. 


70  Small  tripod  with  cover  supported  by  three  lion’s  paws.  The  buff  body  is 
covered  with  a creamy  buff  slip  over  which  is  a transparent  glaze  splashed  with 
green  and  golden  brown  enamels.  The  bottom  of  the  jar  and  part  of  the  feet  are 
unglazed. 

T'ang  Dynasty. 

Diameter:  3 inches.  Height:  2%  inches. 

71  Reddish  pottery  cup  with  wide  rim  just  below  the  lip,  on  which  is  incised  a 
conventional  lotus  design  enamelled  in  yellow  and  green.  A finely  crackled  trans- 
parent glaze  covers  the  creamy  slip,  which  conceals  the  body.  The  inside  and 
outside  of  the  cup  are  unglazed.  The  body  contracts  at  the  foot,  which  flares  out. 
This  object  is  probably  the  base  of  a lamp. 

T'ang  Dynasty. 

Height:  2 inches.  Diameter:  4%  inches. 


72  Small  cube  made  of  light  buff  pottery  coated  with  a pale  cream  slip  over 
which  is  a transparent  glaze  splashed  with  green  and  golden  brown  enamels.  On 
top  and  bottom  is  a panel  containing  a foliated  geometric  design  outlined  in  dark 
brown. 

T'ang  Dynasty. 

Width:  3%  inches.  Length:  41/4  inches.  Height:  2 inches. 


HAN,  T ANG  AND  SUNG  POTTERIES 

73  Compressed  vase  with  short  neck  that  flares  out,  forming  a cup-shaped  mouth. 
The  buff  body  is  covered  with  a transparent  glaze,  splashed  with  green  and  golden 
brown  enamels,  which  stops  at  the  foot.  The  base  is  unglazed. 

T'ang  Dynasty. 

Diameter:  4 % inches.  Height:  4%  inches. 

74  Wine  cup  in  the  form  of  a duck  whose  neck  is  bent  back  over  its  body.  In 
the  beak  is  a six-lobed,  flowerlike,  bottomless  cup.  The  body  of  the  bird  is  hollow. 
The  wings  are  decorated  with  scrolled  feathers  and  dots,  and  over  the  base  are 
scattered  four-petalled  blossoms — all  in  relief  as  though  pressed  from  a mould. 
The  buff  pottery  biscuit  is  covered  with  a creamy  slip,  over  which  is  a thin,  trans- 
parent glaze  streaked  with  green  and  golden  brown  enamels. 

T'ang  Dynasty. 

Width:  23A  inches.  Length:  4%  inches.  Height:  3 inches. 

75  Head  of  a warrior  made  of  pinkish  buff  pottery.  His  helmet  of  yellowish 
brown  enamel  has  a crest  of  green  plumes.  Bordering  his  face  is  a row  of  erect 
greenish  white  feathers,  in  the  middle  of  which  is  a diadem  consisting  of  a 
brownish  “pearl”  supported  by  green  “clouds”  and  surmounted  by  a semicircle  of 
radiating  feathers  whose  ends  are  hidden  by  brownish  disks,  or  “jewels,”  as  are 
also  those  of  the  other  feathers.  A row  of  jewels  also  studs  the  front  edge  of  the 
helmet,  which  terminates  in  two  green,  flowerlike  ornaments.  At  the  back,  the 
edges  curl  up  and  flare  out.  The  face  is  covered  with  a creamy  slip  and  transpar- 
ent glaze  that  is  streaked  and  tinged  with  green.  The  eyes  are  a blackish  brown, 
and  the  ears  have  jewelled  buttons.  The  face  is  firmly  and  beautifully  modelled, 
and  is  no  doubt  that  of  the  God  of  War. 

T'ang  Dynasty. 

Width:  5%  inches.  Height:  7^  inches.  Depth:  6 inches. 

7G  Large  tripod  of  compressed  globular  form,  with  short  neck  and  flaring  mouth, 
supported  by  three  feet  in  the  shape  of  lion’s  paws.  A wide,  almost  flat  band  sur- 
rounds the  middle  of  the  jar.  Above  this  are  four  cartouches,  below  and  between 
which  are  fierce,  leaping,  horned  animals,  all  in  relief  and  applied  to  the  body. 
The  material  is  a pinkish  buff  pottery  covered  with  a creamy  slip,  mostly  decom- 
posed on  the  exposed  parts,  over  which  is  a leaf-green  glaze,  the  ornaments,  neck, 
and  feet  being  enamelled  brown.  This  is  an  unusual  example,  and  seems  to  be- 
long to  the  early  part  of  the  dynasty. 

T'ang  Dynasty. 

Diameter:  8%  inches.  Height:  7 inches. 

77  Incense  burner  of  compressed  globular  shape,  with  short  neck  and  flaring 
lip,  mounted  on  three  legs  like  powerful  paws.  The  body  of  buff  pottery  is  cov- 


T ANG  WARES 


ered  with  a transparent  glaze,  splashed  with  green  and  amber  enamels,  minutely 
crackled.  The  glaze  runs  down  onto  the  paws,  but  leaves  the  bottom  of  the  bowl 
uncovered.  The  inside  of  the  lip  is  also  glazed.  Two  rows  of  rosettes  in  high 
relief  decorate  the  shoulder  of  the  bowl. 

T'ang  Dynasty. 

Height:  5%  inches.  Diameter:  7 Ys  inches. 


78  Tripod  vase  on  three  short  legs,  with  short,  flaring  mouth.  The  buff  body  is 
covered  with  a transparent  glaze  splashed  with  green  and  golden  brown  enamels. 
Above  and  between  the  legs  are  scroll-and-flower  cartouches  applied  to  the  body. 
The  bottom  of  the  bowl  is  unglazed. 

T'ang  Dynasty. 

Diameter:  6%  inches.  Height:  5 inches. 


79  Pear-shaped  vase,  with  long  neck,  made  of  reddish  pottery  covered  with  a 
creamy  slip.  The  decoration  consists  of  a band  of  peony  flowers  and  foliage, 
above  which  are  one  amber  and  two  green  borders,  and  below,  one  green  border. 
The  wide  outlines  of  the  design  are  incised  and  filled  in  with  a dark  brown  enamel. 
A transparent  glaze,  finely  crackled,  covers  the  upper  part  of  the  vase,  ending  with 
the  lowest  border.  The  neck  is  broken. 

T'ang  Dynasty. 

Height:  8%  inches.  Diameter:  4%  inches. 


80  Curved  pillow,  of  hard  buff  pottery,  with  straight  sides,  the  front  and  back 
panels  sloping  inward.  The  top  rear  edge  is  scalloped,  and  the  panel  under  this 
is  decorated  with  an  impressed  scroll  design  of  lotus  flowers  and  foliage  in  yellow 
enamel.  The  rest  of  the  pillow,  except  the  base,  is  covered  with  a pale  green 
glaze.  The  top,  which  slopes  towards  the  front,  is  decorated  with  a border  of  lines 
and  an  inscription,  both  of  which  are  incised.  In  many  places  the  glaze  has  be- 
come silvery  iridescent. 

T'ang  Dynasty. 

Height:  4 inches.  Length:  12 % inches.  Width:  7%,  inches. 


81  High-shouldered  jar  with  cover  formed  like  an  inverted  flower.  The  body 
of  slightly  fired  buff  pottery  is  covered  with  a streaked  green  glaze  that  has  be- 
come slightly  iridescent.  Covering  the  shoulders  is  a wide  incised  border  of  fleurs- 
de-lis.  The  glaze  stops  short  of  the  foot  in  an  uneven  line. 

T'ang  Dynasty. 

Diameter:  7%  inches.  Height:  11%  inches. 


HAN,  T ANG  AND  SUNG  POTTERIES 

82  Large  jar  with  wide-swelling  shoulders  and  cover  formed  like  an  inverted 
lotus,  on  the  top  of  which  is  a seed  pod.  The  body  of  slightly  fired  buff  pottery  is 
covered  with  a leaf-green  glaze  that  stops  in  an  uneven  line  short  of  the  foot. 

T'ang  Dynasty. 

Diameter:  9%  inches.  Height:  13%  inches. 


83  Graceful  bowl  with  rounded  sides,  slightly  flaring  rim,  and  straight  foot.  The 
strong  buff  body  is  covered  with  a fairly  thick,  but  uneven,  minutely  crackled 
glaze  that  stops  at  the  base  of  the  foot  rim.  The  under  side  of  the  latter  is  un- 
glazed and  burnt  grey.  On  the  inside  bottom  of  the  bowl  are  five  spur  marks. 
This  is  a very  early  specimen,  probably  of  the  T'ang  Dynasty. 

Diameter:  6%  inches.  Height:  3%  inches. 


SUNG  DYNASTY 

JU,  KUAN,  KO,  TING,  TZ'U  CHOU,  CHUN,  CHIEN, 
LUNG-CH'UAN,  KUANGTUNG  WARES 


SUNG  DYNASTY 

JU  WARE 

This  ware  owed  its  origin  to  the  fact  that,  during  the  Northern  Sung 
period  (960-1127  a.d.),  the  porcelain  of  Ting  Chou  temporarily  fell  into 
disfavour  at  court  and  the  emperor  ordered  the  factories  at  Ju  Chou,  in 
the  province  of  Honan,  to  make  a citing  (blue  or  green)  porcelain  to 
take  its  place.  No  authenticated  specimens  are  known  to  exist  to-day; 
but  as  this  was  the  most  famous  ware  of  Sung  times,  our  account  of  the 
various  manufactories  of  that  period  would  be  incomplete  without  a 
brief  description  of  it. 

The  body  of  this  ware  was  said  to  have  been  of  a dark  colour,  and  the 
glaze  to  have  been  lustrous  and  thick,  like  “massed  lard,”  and  some- 
times crackled.  Like  the  CKai  ware,  the  colour  desired  was  “the  blue 
of  the  sky  after  rain,”  probably  a blue  or  green.  An  “egg  white,”  or 
white  with  a greenish  tinge,  was  another  variety.  The  glaze  was  said  to 
be  similar  in  colour  to  that  of  the  contemporary  Korean  wares,  which 
were  grey  green  or  greenish  grey,  with  a more  or  less  obvious  tinge  of 
blue. 

With  the  flight  of  the  court  in  1127  a.d.  to  its  new  capital  at  Hang 
Chou,  the  porcelain  of  Ju  Chou  sank  into  obscurity.  By  the  end  of  the 
Ming  Dynasty  (1368-1644  a.d.)  the  ware  became  extinct. 

There  were  kilns  in  various  other  districts  making  the  same  type  of 
ware  as  that  at  Ju  Chou,  but  with  much  less  success.  At  the  latter  place 
the  finest  pieces  were  offered  for  Imperial  use,  those  rejected  being 
sold. 

KUAN  WARE 

Kuan  yao,  or  Imperial  ware,  was  made  at  K'ai-feng  Fu,  province  of 
Honan,  during  the  Northern  Sung  period. 

The  factory  was  established  by  Imperial  mandate  either  in  the  Ta 

[533 


HAN,  T ANG  AND  SUNG  POTTERIES 

Kuan  (1107-1110  a.d.)  or  Cheng  Ho  (1111-1117  a.d.)  period,  and  its  fine 
pieces  were  offered  to  the  emperor,  the  others  being  sold.  In  all  proba- 
bility potters  accompanied  the  court  in  its  flight  southward  across  the 
Yangtse  River,  for  kilns  were  set  up  in  the  Imperial  precincts  at  Hang 
Chou,  and  the  northern  traditions  were  continued.  There  were  two 
other  factories  there,  one  under  the  Phoenix  Hill  and  the  other  “below 
the  suburban  altar.”  At  the  first  of  these  a red  clay  is  said  to  have  been 
used,  giving  the  vessels  the  so-called  “brown  mouth  and  iron  foot”;  at 
the  second,  the  old  northern  types  were  followed,  but  the  ware  was 
inferior. 

The  general  characteristics  of  Kuan  yao,  so  far  as  we  know,  may 
be  summed  up  as  follows: 

The  body  of  fine-grained  stoneware,  either  of  reddish  or  whitish 
colour,  assumed  a rusty  brownish  tint  where  exposed  to  the  fire  of  the 
kiln. 

The  glaze,  of  an  opalescent  quality,  was  smooth  and  even,  and  ended 
close  up  to  the  foot  in  a fairly  regular  line,  a patch  of  glaze  being  usu- 
ally on  the  under  side  of  the  foot.  The  ware  was  frequently  crackled, 
and  sometimes  colour  was  rubbed  into  the  crackle. 

The  colours  varied  from  deep  brownish  green  to  pale  dove  grey  and 
lavender  blue  tints,  relieved  by  passages  of  crimson  or  red  which  in 
turn  shaded  off  into  green  and  brown,  and  often  assumed  fantastic 
shapes. 


KO  WARE 

The  Ko  yao,  or  elder  brother’s  ware,  was  made  by  the  elder  of  the 
Chang  brothers  in  the  Lung-clf  uan  district,  Ch'u-chou  Fu,  province  of 
Chekiang,  possibly  during  the  Southern  Sung  period  (1127-1279  a.d.). 

This  ware  forms  the  link  between  the  obscure  Ju  and  Kuan  wares 
and  the  definitely  known  varieties  of  Lung-ch'uan  Celadon,  having  the 
delicate  bluish  green  and  grey  tones  of  the  former,  and  the  stronger 
grass-green  and  sea-green  tones  of  the  latter.  The  Ko  and  Kuan  wares 
were  so  similar  that  they  were  often  described  together,  the  slight  dif- 
ferences being  in  the  size  of  the  crackle  and  the  quality  of  the  glaze. 

CM] 


SUNG— TING  WARE 

The  body  was  a dark  reddish  brown  clay  of  fine  close  grain,  burnt 
blackish  where  exposed  to  the  fire  of  the  kiln. 

The  manufacture  of  Ko  yao  continued  into,  or  was  taken  up  again  in 
the  Yuan  Dynasty.  In  order  to  obtain  a closer  resemblance  to  the  Sung 
specimens,  red  clay  was  sent  for  from  Hang  Chou  so  that  the  potters 
could  the  better  obtain  the  “brown  mouth  and  iron  foot”  which  was  so 
characteristic  of  those  early  pieces.  This  ware  was  coarse  and  dry  in 
body  and  inferior  in  colour,  according  to  one  Chinese  authority.  These 
later  pieces  were  also  said  to  be  made  without  crackle,  but  this  sweep- 
ing statement  is  rather  questionable. 

TING  WARE 

From  remote  times  the  manufacture  of  a white  ware,  if  not  actually  a 
white  porcelain,  appears  to  have  existed  at  Ting  Chou,  the  modern 
Chen-ting  Fu,  province  of  Chih  li.  This  ware  was  patronized  by  the 
Sung  emperors  and  was  said  to  have  been  at  its  best  during  the  Cheng 
Ho  and  Hsuan  Ho  periods  (1111-1125  a.d.).  The  Ting  Chou  potters  ac- 
companied the  court  in  its  flight  southward  in  1127  a.d.,  and  established 
themselves  in  the  vicinity  of  Ching-te  Chen.  The  ware  made  there  was 
called  Nan,  or  Southern,  Ting,  and  was  practically  as  fine  as  that  made 
at  Ting  Chou. 

The  greyish  white  body  was  of  a fme-grained  clay  of  compact  tex- 
ture, varying  from  a slightly  translucent  porcelain  to  an  opaque  porcel- 
lanous  stoneware.  It  was  not  so  vitrified  as  the  more  modern  porcelains, 
lacking  their  flintlike  fracture,  but  was  capable  of  transmitting  light 
in  the  thinner  and  finer  specimens,  and  consequently  may  be  regarded 
as  one  of  the  earliest  Chinese  wares  which  fulfil  the  European  defini- 
tion of  porcelain. 

The  glaze  was  of  an  ivory  tint,  the  finer  and  whiter  varieties  being 
called  pai,  or  white,  Ting,  and  fen,  or  flour,  Ting.  Another  variety  of  a 
coarser  kind,  having  an  opaque,  earthy  body  and  glaze  of  a yellowish 
tone,  usually  crackled  and  stained,  was  called  Vn,  or  earthen,  Ting.  The 
glaze  of  the  pai  and  fen  Ting  pieces  was  rich  and  unctuous,  being  often 
compared  to  “congealed  fat”  or  “mutton  fat.” 

C55] 


HAN,  T ANG  AND  SUNG  POTTERIES 

The  designs  that  were  carved  in  low  relief  or  etched  with  a fine  point 
were  considered  best,  those  moulded  or  stamped  being  considered  in- 
ferior. The  designs  most  frequently  met  with  are  the  mu-tan,  or  tree 
peony;  the  lotus;  flying  phoenixes,  etc.  The  moulded  ornament  was 
more  elaborate,  and  consisted  of  dense  peony  scrolls  with  flying  phoe- 
nixes; radiating  panels  of  flowers;  fish  among  water  plants,  and  wave 
patterns.  Carved  designs  from  ancient  bronzes  are  also  met  with. 

Owing  to  defects  in  its  glaze  the  Ting  yao  lost  favour  at  court  for  a 
little  while,  and  was  replaced  by  the  famous  Ju  yao. 

The  purple  and  black  varieties  were  more  valued  than  the  white  and 
flour  Ting. 

There  were  many  famous  and  successful  imitations  of  Ting  yao 
made  in  the  Yuan,  Ming,  and  Ch'ing  Dynasties;  and  ware  similar  to  that 
of  Ting  Chou  was  manufactured  at  various  other  places. 

84  Wine  ewer  of  graceful  ovoid  body,  straight  neck,  and  flaring  lip.  The  short 
spout  has  a vertically  ribbed  collar  connecting  it  to  the  body.  The  handle  is 
formed  by  a lion  standing  on  his  hind  legs  and  stretching  his  head  and  forepaws 
over  the  rim  as  though  trying  to  get  at  the  contents  of  the  ewer.  The  biscuit  is  a 
white  porcellanous  stoneware  over  which  a thin  creamy  glaze  has  been  flowed. 
Owing  to  long  burial  this  has  lost  its  vitreous  character,  so  that  the  texture  is  now 
more  like  that  of  stone  or  marble. 

Sung  Dynasty. 

Height:  5 inches.  Diameter:  3x/%  inches. 

85  Saucer  of  white  porcelain,  covered  with  a transparent  ivory  glaze,  and  deco- 
rated with  a lotus  blossom  and  foliage  incised  beneath  the  glaze.  A copper  band 
encases  the  lip  of  the  dish.  The  base  is  glazed. 

Ting  ware. 

Sung  Dynasty. 

Diameter:  4%  inches.  Height:  % inch. 

86  Six-lobed  plate  of  white  porcelain  covered  with  a transparent  ivory  glaze. 
The  pressed  decoration  consists  of  three  peony  blossoms  and  foliage,  enclosing 
which  is  a scrolled  border.  A copper  rim  encases  the  edge  of  the  plate,  and  the 
bottom  is  glazed. 

Ting  ware. 

Sung  Dynasty. 

Diameter:  5%  inches.  Height:  % inch. 

esc: 


SUNG— TING  WARE 

87  Cup  with  cover  of  white  porcellanous  stoneware  covered  with  a thin  solid 
white  glaze.  Most  of  the  bottom  inside  the  cup  and  part  of  the  foot  are  unglazed. 
This  cup,  which  is  beautifully  potted,  has  a flaring  lip,  straight  sides,  and  flat  bot- 
tom resting  on  a small  circular  foot.  The  inside  is  divided  into  six  panels,  suggest- 
ing a flower.  There  is  also  a foot  on  the  cover,  which,  when  placed  under  the  cup, 
serves  as  a saucer. 

Ting  ware. 

Sung  Dynasty. 

Height:  3%  inches.  Diameter:  4 1ty6  inches. 

88  Graceful  porcelain  wine  ewer  with  three-branched  handle  and  curved  spout. 
The  glaze  is  almost  white.  Vertical  incised  lines  divide  the  body  into  panels  which 
are  enclosed  by  horizontal  lines  at  top  and  bottom.  The  handle  ends  in  three 
bunches  of  pressed  flowers  near  the  spout.  These  bunches  are  tied  together  and 
terminate  in  a pressed  scroll-like  ornament. 

Ting  ware. 

Sung  Dynasty. 

Height:  G1/*  inches.  Diameter:  3%  inches. 

89  Cylindrical  incense  burner  on  three  short  legs.  The  straight  sides  are  ribbed 
horizontally,  and  the  mouth  is  encased  in  a copper  rim.  The  white  porcelain  body 
is  covered  with  a greenish  white  glaze  which  has  run  down  in  gummy  tears  on  the 
inside,  the  bottom  of  which  is  partially  unglazed,  as  is  also  a small  patch  on  the 
bottom  of  each  foot. 

Ting  ware. 

Sung  Dynasty. 

Diameter:  5 Vo  inches.  Height:  3x/4  inches. 

90  Quadrilateral  vase  with  sloping  sides  contracting  at  the  neck.  The  body  of 
grey  stoneware  is  covered  with  a rich  creamy  glaze.  Each  side  has  a panel  filled 
with  manjr-petalled  lotuses,  stems,  leaves,  and  borders  of  bronze  design,  which 
have  been  cast  from  an  intaglio  mould,  so  stand  out  in  slight  relief.  The  inside  of 
the  base  is  glazed,  and  the  lip  is  encased  in  a copper  band. 

Ting  ware. 

Sung  Dynasty. 

Width:  314  inches.  Depth:  2%  inches.  Height:  4%  inches. 

91  Elongated,  ovoid-shaped  vase  of  greyish  porcellanous  ware  covered  with  a 
creamy  glaze.  The  incised  decoration  which  covers  the  vase  consists  of  a collar 
of  sweet-flag  leaves,  below  which  are  two  bands,  one  with  the  key-fret  and  the 
other  with  a scroll  design.  The  main  decoration  consists  of  large,  many-petalled 


HAN,  T ANG  AND  SUNG  POTTERIES 

chrysanthemums  and  tendrils,  below  which  is  a lotus-petal  and  scroll  border. 
The  foot,  which  flares  out,  is  quite  deep,  and  only  the  bottom  of  its  rim  is  unglazed. 
A metal  rim  encases  the  lip,  and  the  top  of  the  neck  is  repaired. 

Ting  ware. 

Sung  Dynasty. 

Height:  10  inches.  Diameter:  4 Yg  inches. 

92  Jar  of  grey  porcellanous  stoneware  covered  with  a creamy  slip  on  which  is 
sketched  in  iron  black  a lohan  seated  on  a deer.  The  transparent  glaze  is  covered 
with  a mesh  of  accidental  crackle,  which  is  stained  brown  in  places.  The  inside  of 
the  base  is  also  glazed,  and  the  lip  has  been  ground  down. 

Ting  type  of  ware. 

Height : 9 Yz  inches.  Diameter : G1/^  inches. 

93  Thin  bowl  of  graceful  shape  made  of  buff  stoneware  and  covered  with  a dark 
reddish  brown  glaze.  Inside  the  bowl  is  divided  into  six  panels,  each  containing 
sprays  of  flowers,  and  on  the  bottom  is  another  spray.  The  decoration  is  in  slight 
relief  due  to  the  fact  that  it  was  formed  in  a mould.  Pieces  of  glaze  have  been 
chipped  out  of  the  sides  of  the  bowl  and  the  rim  is  encased  in  silver.  This  speci- 
men is  unique. 

Ting  ware. 

Sung  Dynasty. 

Diameter:  G^  inches.  Height:  2 inches. 

94  Thin  bowl  of  graceful  form,  made  of  buff  stoneware  and 
blackish  brown  glaze.  Inside  the  bowl  is  divided  into  six  panels, 
a spray  of  flowers,  and  in  the  bottom  are  two  fish  amongst  waves, 
is  in  slight  relief  due  to  its  having  been  formed  in  a mould.  The 
is  encased  in  silver.  This  is  a most  unusual  specimen. 

Ting  ware. 

Sung  Dynasty. 

Diameter:  6%  inches.  Height:  2 inches. 

TZTJ  CHOU  WARE 

This  ware,  closely  related  to  the  Ting  group,  was  made  at  Tz'u  Chou, 
formerly  in  the  Chang-te  Fu,  in  Honan,  and  now  included  in  the  Kuang- 
p'ing  Fu,  Chih-li.  The  potteries  here  must  have  assumed  importance  at 
an  early  date,  for  specimens  of  the  Tzu  Chou  type  have  been  found  on 
sites  of  a date  not  later  than  the  Tang  Dynasty. 


covered  with  a 
each  containing 
The  decoration 
rim  of  the  bowl 


No.  102 

Statue  of  Daruma 
Tz'ii  Chou  Ware— Sung  Dynasty 


SUNG— TZ'U  CHOU  WARE 

Good  specimens  of  this  ware  were  very  similar  in  construction  to 
those  of  Ting  Chou;  and  the  plain,  undecorated  pieces  of  the  former 
were  said  to  have  brought  even  higher  prices  than  those  of  the  latter. 
These  plain  wares  can  be  distinguished  from  each  other  only  by  the 
peculiarities  of  their  shapes. 

The  body  of  Tz'u  Chou  yao  was  a greyish  buff,  porcellanous  stone- 
ware, coated  with  a creamy  white  slip,  and  covered  with  a transparent 
glaze,  almost  colourless,  but  with  a creamy  tinge. 

By  far  the  largest  number  of  Tz'u  Chou  pieces  were  decorated  with 
rapid,  bold,  and  rather  impressionistic  sketches,  or  designs,  painted  in 
shades  of  brown,  varying  from  black  to  a soft  coffee  colour,  and  some- 
times touched  with  reddish  brown.  These  designs  were  either  painted 
directly  on  the  glaze  or  on  the  slip,  which  was  sometimes  left  unglazed. 
In  the  Ming  Dynasty,  or  even  earlier,  a maroon  slip  was  added  to  the 
brown  and  black.  Green,  red,  and  yellow  enamels  were  most  success- 
fully used  on  the  glaze,  especially  on  the  statuettes  and  vases,  which  in 
some  cases  seem  to  have  been  made  prior  to  Sung;  but  their  exact  date 
has  not  yet  been  satisfactorily  established.  From  the  Sung  through  the 
Ming  period  a beautiful  turquoise  blue  glaze,  similar  to  that  on  Persian 
and  Syrian  pottery,  with  black  underglaze  decoration,  was  employed  at 
these  kilns.  Underglaze  blue  is  also  found  on  Tz'u  Chou  wares,  but 
we  have  no  information  as  to  when  it  was  introduced.  Figures  and 
statuettes,  mostly  of  deities,  have  been  made  at  Tz'u  Chou  from  earliest 
times.  The  early  and  better  figures  were  modelled  with  great  strength 
and  vigour,  and  rank  with  the  best  of  ceramic  statuary. 

Another  and  a most  interesting  phase  of  this  ware  was  that  in  which 
the  designs  were  either  engraved  or  executed  in  a manner  usually 
known  as  the  graffito  process,  in  which  the  lines  of  the  design  were  cut 
through  a layer  of  slip  that  contrasted  in  colour  with  the  underlying 
material.  Sometimes  the  ground  of  the  pattern  was  freely  cut  away, 
exposing  considerable  areas  of  the  body. 

As  there  is  no  way  of  identifying  the  peculiarities  of  the  various  fac- 
tories that  worked  along  the  same  lines  as  those  of  Tz'u  Chou,  Mr.  Hob- 
son thinks  it  advisable  to  designate  this  group  by  some  such  formula  as 
“Tz'u  Chou  type.”  This  ware  is  being  made  to-day  along  traditional 

fen 


HAN,  T'ANG  AND  SUNG  POTTERIES 

lines,  but  it  lacks  the  character,  bigness,  and  fine  quality  of  the  early 
specimens.  The  body  is  a hard,  greyish  white  stoneware,  with  no  slip 
covering,  and  the  glaze  is  yellowish,  soft-looking,  and  freely  crackled, 
without  the  solid  qualities  of  the  older  ivory  glaze  on  a white  slip 
coating. 

95  Tazza  with  wide  convex  rim,  cylindrical  body,  and  flaring  stand.  The  hard 
buff  stoneware  is  covered  with  a creamy  slip  over  which  a dense  white  glaze  has 
been  flowed,  leaving  the  greater  part  of  the  stand  and  the  inside  of  the  cup  un- 
covered. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty. 

Diameter:  4%  inches.  Height:  3%  inches. 

96  Large,  wide-swelling,  ovoid  jar  of  buff  pottery  covered  with  a creamy  slip 
over  which  is  a transparent,  colourless  glaze.  The  decoration  consists  of  two 
bands  of  ornament  painted  in  a brownish  black  under  the  glaze.  The  upper  of 
these,  at  the  neck,  consists  of  radiating  lotus  petals,  between  which  are  stamen- 
like lines.  The  lower,  wider  band  contains  phoenixes  flying  amongst  clouds.  The 
feathers,  etc.,  and  scrolls  on  the  clouds  are  indicated  by  white  lines  made  by 
scratching  through  the  black  and  exposing  the  slip. 

Tz'u  Chou  type  of  ware. 

Diameter:  13%  inches.  Height:  12%  inches. 

97  Gallipot  vase  of  grey  stoneware  covered  with  a rich,  creamy  slip  over  which 
is  a transparent  glaze  of  a slightly  creamy  tinge.  The  decoration,  painted  in  a 
greyish  black  under  the  glaze,  consists  of  two  floral  sprays  below  which,  and 
widely  separated  from  each  other,  are  two  pairs  of  parallel  lines.  The  glaze  ends 
at  the  foot. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty. 

Diameter:  6%  inches.  Height:  11%  inches. 

98  Oviform  vase  with  short  neck  and  thick  flaring  lip,  four  small  handles  being 
attached  at  the  neck.  The  buff  body  is  covered  on  the  upper  half  with  a creamy 
slip,  decorated  in  blue-black  with  two  rings  and  three  birdlike  designs,  and  cov- 
ered with  a frosted,  transparent  glaze  of  a creamy  tinge.  The  lower  half  is  cov- 
ered with  a soft,  seal-brown  glaze  that  stops  at  the  base  of  the  foot.  The  bottom 
of  the  latter  is  bare,  but  the  inside  of  the  foot  is  glazed  brown. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty. 

Diameter:  6 inches.  Height:  10%  inches. 


No.  110 

Six-sided  polychrome  pillow 
Sung  Dynasty 


SUNG— TZ'U  CHOU  WARE 

99  Globular  jar  with  short,  slightly  flaring  neck  ending  in  a lip  that  curls  back 
like  a cuff.  The  body  of  coarse,  buff  stoneware  is  covered  with  a crackled  slip 
over  which  is  a transparent,  pale  grey  glaze.  The  decoration  consists  of  a wide 
band  of  flowers  and  leaves,  incised  under  the  glaze,  and  rendered  in  a bold  but 
naturalistic  manner.  The  background  is  painted  a dark  reddish  brown.  Above 
this  band  are  two  lines  between  which  are  sets  of  wisplike  lines,  all  incised  under 
the  glaze.  The  flat  base  is  covered  with  the  creamy  slip. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty. 

Diameter:  12%  inches.  Height:  14V£  inches. 

100  Jardiniere  of  coarse  buff  pottery  covered  with  a crackled  creamy  white  slip 
over  the  greater  part  of  which  is  a transparent,  pale  greenish  brown  glaze.  The 
inside  of  the  jar  and  the  flat  bottom  are  unglazed  and  burned  a reddish  colour. 
The  decoration  consists  of  bamboo  and  plum  trees,  chrysanthemums  and  iris 
plants,  in  high  relief  and  enamelled  a rich,  dark  brown  tinged  with  green,  the  plum 
and  chrysanthemum  blossoms  being  blue.  These  motives  are  rendered  with  great 
strength  and  freshness,  and  have  an  individual  character  of  a highly  decorative 
sort. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty. 

Diameter:  11%  inches.  Height:  7%  inches. 

101  Jar  with  wide  mouth  made  of  grey  porcellanous  stoneware  covered  with  a 
creamy  slip  on  which  three  fleeing  deer  are  sketched  in  reddish  brown  and  black. 
The  transparent  glaze,  minutely  crackled  and  stained  grey,  covers  the  outside  and 
inside  of  the  jar.  The  lip  and  foot  are  unglazed. 

Tz'u  Chou  type  of  ware. 

Height:  4 inches.  Diameter:  4%  inches. 

102  Standing  statue  of  Daruma  with  folded  arms  and  flowing  robes  which  cover 
his  head  like  a hood.  The  figure  is  of  greyish  buff  porcellanous  stoneware  cov- 
ered with  a thick  transparent  yellowish  glaze  under  which  is  a creamy  slip.  The 
robes  are  decorated  with  a marbled  veining  in  dark  brown  under  the  glaze,  a type 
of  design  called  mokume  by  the  Japanese.  The  eyebrows,  pupils,  moustaches, 
and  beard  of  the  sage  are  dark  brown,  the  hair  being  indicated  by  incised  lines. 
He  stands  rapt  in  contemplation,  gazing  off  into  space,  his  left  foot  projecting  from 
beneath  the  edge  of  his  garment.  It  was  this  same  Daruma  who  came  to  China 
from  India  during  the  Liang  Dynasty  (502-557  a.d.)  and  founded  the  Zen  sect  of 
Buddhism. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty. 

Height:  6 Vo  inches.  Width  of  base:  4%  inches. 

( Illustrated ) 


HAN,  T ANG  AND  SUNG  POTTERIES 

103  Jar  with  swelling  shoulders  on  which  are  placed  four  grotesque  grinning 
heads  modelled  in  full  relief.  The  greyish  stoneware  is  covered  with  a creamy 
slip  over  which  is  a crackled  transparent  glaze.  The  eyes  of  the  grotesques  are 
black  and  their  cheeks  brown. 

Tz'u  Chou  type  of  ware. 

Height:  inches.  Diameter:  8%  inches. 

104  Small  seated  lion  of  close,  smooth,  buff  pottery  covered  with  a creamy  slip 
over  which  is  a transparent,  colourless  glaze  enamelled  with  blue,  purple,  and 
greenish  yellow.  The  body  is  hollow. 

Tz'u  Chou  type  of  ware. 

Width:  1 inch.  Height:  l1/^  inches. 


105  Statuette  of  a child  riding  a horse.  The  body  is  a grey  stoneware,  over  the 
upper  part  of  which  is  a creamy  slip  covered  with  a transparent  glaze.  The  child 
faces  to  the  left  and  wears  a green  garment  from  which  protrude  reddish-brown 
boots.  The  eyes  of  both  rider  and  horse,  the  harness  and  horse’s  ears  are  enam- 
elled the  same  reddish  brown.  The  child’s  two  tufts  of  hair  and  the  horse’s  tail 
are  a greenish  dark  brown. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty. 

Width:  3%  inches.  Height : 3^  inches.  Depth : 1^4  inches. 


106  Statuette  of  a lady,  standing  on  a square  base,  made  of  a buff  pottery  cov- 
ered with  a creamy  slip  over  which  is  a transparent,  colourless  glaze  on  which  are 
vestiges  of  red  and  green  enamels.  The  lips  are  red,  the  eyes,  eyebrows,  and  hair 
being  a glossy  black.  On  top  of  the  latter,  at  the  back,  is  a broad  white  knob, 
probably  representing  a cloth  covering  the  knot  of  hair.  The  arms  are  placed  just 
below  the  breast,  one  above  the  other,  as  though  holding  up  the  flowing  draperies 
that  cover  the  body.  A short  cape  hangs  from  the  shoulders. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty. 

Size  of  base : 1%  x 1 3A  inches.  Height:  6%  inches. 


107  Statuette  of  a demon,  one  of  the  four  guardians  of  the  heavens,  standing  on 
a square  base.  The  body  of  buff  pottery  is  covered  with  a creamy  slip  over  which 
is  a transparent,  colourless  glaze  to  which  vestiges  of  red  and  green  enamels  still 
adhere.  The  hands  are  folded  and  rest  on  the  top  of  a huge  club.  The  upper  gar- 
ment is  low-necked  and  short-sleeved,  the  front  ends  being  tied  together  on  the 
chest,  those  at  the  back  falling  straight  to  below  the  waist.  The  lower  garment  fits 


No.  109 

Pair  of  polychrome  vases 
Tz'B.  Chou  Ware — Sung  Dynasty 


SUNG— TZ'U  CHOU  WARE 

closely,  falling  to  the  ground.  The  eyes,  horns,  and  club  are  covered  with  a glossy 
brownish  black,  and  the  figure  is  hollow. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty. 

Size  of  base : l7/g  x 1%  inches.  Size  of  figure : inches. 

108  Three-quarter-length  fragment  of  a statue  of  a lady  of  high  rank.  The  hol- 
low body  of  buff  pottery  is  covered  with  a creamy  slip  over  which  is  a transparent, 
colourless  glaze,  partially  crackled.  The  face  is  delicately  modelled,  the  lips  are 
red,  the  eyes,  eyebrows,  and  hair  being  black.  The  latter  is  parted  in  the  middle 
and  drawn  back  from  the  face  in  fairly  tight  folds.  The  head-dress,  of  triangular 
form,  starts  behind  the  ears  and  ends  high  above  the  head.  The  crest  consists  of 
a sitting  phoenix,  enamelled  yellow,  the  plumage  being  outlined  in  black  and 
touched  with  green.  On  each  side  of  this  is  a red  oval  spot,  and  the  colour  of  the 
rest  is  green  outlined  in  black.  The  costume  consists  of  several  undergarments, 
their  edges  showing  at  the  neck  and  sleeves,  the  latter  enveloping  the  arms  folded 
on  the  breast.  A cloak  with  short  cape  falls  loosely  from  the  shoulders.  The 
enamels  are  red,  yellow,  and  green,  lined  with  black. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty. 

Width:  3 % inches.  Length:  7%  inches.  Depth:  inches. 

109  Two  pear-shaped  vases  with  flaring  lips.  The  hard,  dense  buff  pottery  is 
covered  with  a rich  creamy  slip,  over  which  is  a transparent  colourless  glaze.  Near 
the  base  is  a wide  band  of  green  enamel,  iridescent  in  places,  on  which  are  lotuses 
and  leaves  outlined  in  iron  red,  the  tips  of  the  petals  being  also  red.  At  the  base 
of  the  neck,  on  an  olive  yellow  ground,  is  a band  of  lotus  petals  pointing  down- 
wards, outlined  in  red  and  decorated  with  red  scrolled  panels,  with  green  borders. 
On  the  shoulder  are  two  bands,  one  of  red,  the  other  of  green.  Above  the  neck 
panel  are  bands  of  iron  red.  The  glaze  and  slip  stop  short  of  the  foot. 

Tz'u  Chou  type  of  ware. 

Sung  Dynasty,  or  earlier. 

Height:  7%6  and  7^  inches.  Diameter:  3%  inches  and  3^  inches. 

( Illustrated ) 

110  Six-sided  pillow  made  of  hard,  reddish  buff  pottery.  The  top  panel  is  framed 
with  a narrow  amber  border  enclosing  a graceful  spray  of  blossoming  chrysan- 
themums. The  flowers  of  this  have  cream  petals  and  green  centres,  and  the 
leaves  are  a rich  dark  green,  their  veins  being  of  the  same  colour  as  the  back- 
ground, which  is  a blackish  green.  The  sloping  moulding  around  the  top  and  the 
panels  on  the  straight  sides  arc  covered  with  a dark  green  glaze  of  the  same  shade 
as  the  chrysanthemum  leaves  on  the  top.  Each  panel  is  filled  with  an  impressed 
square  diaper  pattern  composed  of  four  fleurs-de-lis.  These  patterns  and  the 

[W 


HAN,  T ANG  AND  SUNG  POTTERIES 

chrysanthemum  spray  are  slightly  raised  by  a creamy  slip  under  the  glaze.  The 
thin,  transparent  lead  glaze,  minutely  covered  with  age  crackle,  stops  at  the  base 
moulding  in  a line  of  tear  drops.  The  inside  of  the  pillow  is  hollow. 

This  specimen  is  a beautiful  example  of  decorative  art,  the  design  being  executed 
with  the  greatest  skill  and  taste. 

Sung  Dynasty  or  earlier. 

Extreme  length:  12%  inches.  Extreme  width:  5%  inches.  Height  in  front:  3% 
inches.  Height  in  back : 4 inches. 

(Illustrated) 

111  Bottle-shaped  vase  of  dense  grey  porcellanous  stoneware  covered  with  a 
soft,  clear  glaze  of  purplish  brown,  splashed  with  blue  and  yellow,  giving  a most 
interesting  play  of  colour.  The  neck  ends  in  a flat,  thick  band  incised  with  the 
key-fret,  and  at  the  junction  of  the  body  and  the  neck  is  a collar  of  palmetto  leaves. 
A graceful  scroll  pattern  of  flowers  and  foliage  in  relief  covers  the  body  of  the 
bottle.  The  foot  rim  is  bare,  but  the  inside  of  the  base  is  covered  with  a trans- 
parent glaze  of  blue. 

Tz'u  Chou  type  of  ware. 

Height:  7%  inches.  Greatest  diameter:  4 inches. 

(Illustrated) 

112  Large,  wide-swelling,  ovoid  jar  with  straight  lip.  The  body  is  a heavy  brown 
stoneware  over  which  is  a thick,  metallic,  dark  brown  glaze  both  outside  and  in- 
side. The  upper  half  of  the  former  is  decorated  with  two  bands  of  ornament,  the 
one  at  the  neck  containing  radiating  petals,  and  the  lower  one  a scrolled  foliated 
pattern.  The  glaze  has  been  cut  away  to  expose  the  biscuit,  which  acts  as  a back- 
ground for  the  design. 

Tz'u  Chou  type  of  ware. 

Yiian  Dynasty. 

Diameter:  14%  inches.  Height:  14%  inches. 


CHUN  WARE 

The  Chun  ware  is  said  to  have  been  first  made  in  the  early  part  of  the 
Sung  Dynasty  at  Chun  Chou  or  Chiin-fai,  the  modern  Yii  Chou,  in  the 
K'ai-feng  Fu,  Honan  province. 

This  ware  was  not  appreciated  by  the  connoisseurs  of  the  fourteenth 
century,  as,  being  destined  for  every-day  uses  and  aiming  at  service- 
able qualities  rather  than  “antique  elegance,”  it  was  made  with  much 
strength  and  solidity.  Thanks  to  these  very  qualities,  we  are  to-day 


No.  Ill 

Purple  bottle-shaped  vase 


V 


SUNG— CHUN  WARE 

able  to  acquire  in  excellent  condition  many  choice  specimens.  It  was 
not  until  the  end  of  the  Ming  Dynasty  that  its  beautiful  glazes  had  won 
for  it  a place  among  the  celebrated  Sung  wares,  although  even  then 
certain  varieties  were  considered  undesirable. 

The  body  of  the  Chiin  yao  is  of  two  varieties : one,  of  a fine,  whitish 
grey  porcellanous  ware  of  close  texture  and  considerable  refinement, 
called  by  the  Chinese  tz'u  Vai,  or  porcelain  body;  the  other,  of  a sandy 
yellow  earthenware,  coarse  and  thick,  and  without  refinement,  called 
sha  Vai , or  sandy  body. 

The  glazes  are  of  the  thick  opalescent  kind  which  flows  sluggishly 
and  often  stops  short  of  the  base  in  a thick,  wavy  roll  or  in  large  drops. 
On  the  salient  parts  of  the  vessels  the  glaze  is  thin  and  more  or  less  col- 
ourless, but  in  the  lower  parts  and  in  the  depressions,  where  the  glaze 
collects  in  thick  masses,  the  depth  and  play  of  colour  are  wonderful. 
Even  on  the  finest  specimens  the  colour  is  never  quite  continuous  or 
unbroken.  The  glaze  is  filled  with  streaks,  bubbles,  hair  lines,  and  dap- 
pling, and  a rather  faint  crackle  is  usually  present.  Ch'iu-ying  wen,  or 
“earthworm”  marks,  which  appear  to  be  irregular  partings  in  the  col- 
our of  the  glaze,  are  usually  found  only  on  the  fine  pieces,  and  are  re- 
garded as  signs  of  genuineness. 

The  colour  of  the  glaze,  which  is  the  crowning  glory  of  this  ware, 
varies  from  dove  grey,  lavender,  crushed  strawberry,  dappled  purple, 
and  crimson  to  a crab-shell  green.  Then  there  are  the  so-called  “mixed 
colours,”  in  which  we  find  crimson  and  purple  on  a turquoise  ground, 
and  many  similar  combinations. 

This  ware  was  used  mostly  for  bulb  bowls,  deep  flower  pots  with 
saucers  to  match,  bowls,  large  and  small  vases,  jars  and  incense  burn- 
ers. The  finest  pieces  have  a Chinese  numeral,  from  1 to  10,  incised 
under  the  foot,  which  is  thought  to  designate  the  sizes  of  the  pieces.  On 
the  foot  of  the  bulb  bowls  there  is  generally  a ring  of  spur  marks,  inside 
of  which  are  the  numeral  and  usually  two  inscriptions,  giving  the 
names  of  the  palace  and  pavilion  to  which  the  piece  belongs. 

Although  the  manufacture  of  Chiin  yao  has  apparently  never  ceased 
since  its  establishment,  the  ware  deteriorated  after  the  Sung  Dynasty 
and  is  no  longer  considered  of  importance  as  an  artistic  production. 

[73] 


HAN,  T ANG  AND  SUNG  POTTERIES 

113  Small  rounded  bowl  of  greyish  porcellanous  stoneware  covered  with  a 
crackled  greyish  white  glaze  that  stops  in  an  even  line  at  the  foot  rim,  which  is 
burned  a blackish  brown.  The  inside  of  the  foot  is  also  glazed. 

Chun  type  of  ware. 

Sung  Dynasty. 

Diameter:  3%  inches.  Height:  D/2  inches. 

114  Small  rounded  bowl,  with  slightly  contracted  mouth,  made  of  grey  porcel- 
lanous stoneware  and  covered  with  a beautiful  pale  blue  glaze  which  stops  in  an 
even  line  at  the  foot,  inside  of  which  is  a patch  of  glaze.  At  the  rim,  where  the 
glaze  is  thin,  the  grey  body  is  visible;  and  at  the  base,  where  it  was  exposed  to  the 
fire,  the  stoneware  is  burned  brown. 

Chiin  ware. 

Sung  Dynasty. 

Diameter:  32/4  inches.  Height:  1%  inches. 

115  Incense  burner  of  globular  body,  short,  straight  neck  with  flanged  mouth, 
and  two  upright  rectangular  handles  connected  to  the  globular  body  by  snakelike 
forms.  The  grey  porcellanous  stoneware  of  the  body,  burned  reddish  where  ex- 
posed, is  covered  with  a thick  glaze  of  pale  blue,  through  which  the  body  is  visible 
on  the  salient  parts.  The  ends  of  the  feet  and  a patch  on  the  base  of  the  body  are 
unglazed. 

Chiin  ware. 

Sung  Dynasty. 

Diameter:  4%  inches.  Height:  4*4  inches. 

116  Graceful  cone-shaped  howl,  made  of  grey  porcellanous  stoneware  and  cov- 
ered with  a beautiful  smooth  blue  glaze  through  which  numberless  little  round 
openings  or  bubble  holes  can  he  seen.  At  the  lip,  where  the  glaze  has  run  thin, 
the  grey  body  is  visible.  The  unglazed  foot  is  burned  a reddish  buff. 

Chiin  ware. 

Sung  Dynasty. 

Diameter:  4%  inches.  Height:  3%  inches. 

117  Bottle-shaped  vase  with  body  moulded  like  a lotus  blossom.  The  hard  buff 
ware,  burned  reddish  where  exposed,  is  covered  with  a crackled,  opalescent,  tur- 
quoise blue  glaze  flushed  with  crimson,  that  stops  at  the  foot,  the  inside  of  which 
is  glazed. 

Formerly  in  the  collection  of  the  late  Henry  Sampson,  Esq. 

Soft  Chiin  ware. 

Sung  Dynasty. 

Height:  6 inches.  Diameter:  inches. 


No.  122 

Bulb  bowl  of  Imperial  Chun  ware 
Sung  Dynasty 


SUNG— CHUN  WARE 


118  Melon-shaped  vase  with  short,  straight  neck  and  slightly  spreading  base. 
The  very  hard  buff  body  is  covered  with  a thick,  opalescent,  sky-blue  glaze,  inter- 
estingly crackled.  At  the  mouth,  where  the  glaze  has  run  thin,  the  buff  of  the 
body  is  plainly  visible.  The  base  of  the  foot  is  unglazed,  but  the  deep,  concave 
inside  of  the  foot,  and  also  the  inside  of  the  vase,  are  glazed. 

Soft  Chun  ware. 

Sung  Dynasty. 

Height : 7^  inches.  Diameter : 5%  inches. 

119  Face  bowl  with  scalloped,  flanged  rim  under  which  is  a handle.  The  greyish 
brown  stoneware  body  is  covered  completely,  except  for  three  spur  marks  on  the 
base,  by  a crackled  sky-blue  glaze  of  paintlike  quality,  with  frosting  of  a pale 
cream  colour. 

Sung  Dynasty. 

Diameter:  inches.  Height:  2%  inches. 

120  Miniature  jar  with  wide  swelling  shoulders,  low  neck,  and  convex  cover  with 
cone-shaped  knob.  The  body  is  a dense  grey  stoneware  burned  a reddish  brown 
where  exposed  to  the  fire  of  the  kiln.  On  the  sides  are  six  vertical  bosses,  cicada- 
shaped. Between  these  are  panels  containing  alternately  latticework  and  scrolls 
of  foliage  and  blossoms,  enclosed  between  horizontal  lines.  The  cover  has  a band 
of  latticework  at  its  rim.  The  decoration  is  painted  in  a metallic  brown  beneath  a 
semitransparent  crackled  glaze  of  lavender  blue,  which  stops  short  of  the  foot.  A 
patch  of  glaze  is  on  the  inside  of  both  cover  and  jar.  This  is  a unique  piece  and 
shows  an  early  form  of  underglaze  decoration. 

Chun  type  of  ware. 

Sung  Dynasty. 

Diameter : 4 y16  inches.  Height : 2%  inches. 

(Illustrated) 

121  Plate  of  grey  porcellanous  ware  covered  with  a smooth,  thick  glaze  of  sky- 
blue  relieved  by  passages  of  crimson  purple  of  fantastic  shapes.  The  rim  and  the 
base  of  the  foot  are  burned  a rusty  brown,  the  area  inside  the  latter  being  almost 
entirely  glazed  and  having  three  spur  marks.  In  many  places  the  grey  of  the  body 
is  visible  through  the  glaze. 

Chiin  ware. 

Sung  Dynasty. 

Diameter:  7!/2  inches.  Height:  l1/^  inches. 

122  Bulb  bowl  of  bronze  form  with  three  cloud-scroll  feet,  bordered  on  the  ex- 
terior with  two  rows  of  studs,  the  upper  row  enclosed  by  raised  bands.  Greyish 
white  porcellanous  body.  Inside,  the  bowl  is  covered  with  a mottled  light  blue 


HAN,  T ANG  AND  SUNG  POTTERIES 

and  creamy  glaze,  and  on  the  bottom  is  a large  and  interesting  group  of  “earth- 
worm” marks.  The  outside  is  covered  with  an  unctuous,  thick  glaze  of  finely 
dappled  grey-blue  and  purple,  the  latter  predominating,  with  passages  of  haw- 
thorn red,  making  a most  beautiful  and  interesting  combination  of  colours.  On 
the  salient  parts,  where  the  glaze  has  run  thin,  the  colour  is  a pale  olive.  The  foot 
of  the  bowl  is  covered  with  an  olive  and  reddish  brown  glaze.  There  is  a ring  of 
spur  marks,  and  three  scars  where  the  numeral  1 and  two  inscriptions  have  been 
hacked  and  scratched  out.  This  is  an  unusually  fine  piece  of  large  size,  and  is  in 
excellent  condition. 

Imperial  Chun  ware. 

Sung  Dynasty. 

Diameter:  inches.  Height:  3%  inches. 

(Illustrated) 

123  Large  bowl  with  rounded  sides  and  slightly  flaring  lip.  The  body  is  a fine 
porcellanous  stoneware,  burned  a reddish  brown  where  exposed.  Both  on  the 
inside  and  outside,  the  bowl  is  covered  with  a deep  red  glaze  with  flushes  of  pur- 
ple. The  rim  and  foot,  where  the  glaze  has  run  thin,  are  a dark  brown  colour,  and 
the  under  side  of  the  foot  is  unglazed.  The  bowl  is  beautifully  mended  with  gold 
lacquer.  This  is  a most  unusual  specimen  of  early  Sung  Chun  yao,  and  of  this 
quality  no  other  example  exists  in  the  collections  of  Europe  and  America. 

Imperial  Chun  ware. 

Sung  Dynasty. 

Diameter:  7%  inches.  Height:  3 x/z  inches. 

( Illustrated ) 


CHIEN  WARE 

Originally  this  ware  was  made  at  Chien-an,  but  later  the  factory  was 
removed  to  Chien-yang,  both  places  being  in  Chien-ning  Fu,  province 
of  Fukien.  We  do  not  know  when  the  factories  were  first  established, 
but  records  show  that  they  were  in  operation  in  the  tenth  century. 

The  body  of  Chien  yao  is  either  a fine  buff  stoneware  or  a dark 
brown  earthenware.  A thin  brown  or  purplish  slip  sometimes  covers 
the  body. 

The  glaze  is  quite  thick  and  of  an  iridescent,  lustrous  purplish  or 
bluish  black.  On  the  bowls  this  is  usually  streaked  or  spotted  with 
golden  or  reddish  brown  markings,  known  as  “hare’s  fur”  or  “partridge 
breast,”  on  both  the  outside  and  inside  surfaces,  and  plum  blossoms, 


No.  123 

Large  bowl  of  Imperial  Chun  ware 
Sung  Dynasty 


■ 


■ 


SUNG— CHIEN  WARE 

dragons,  etc.,  are  sometimes  indicated  on  the  inside  in  black.  The  lus- 
trous black  glaze  is  also  treated  with  larger  splashes  of  reddish  brown, 
which  sometimes  cover  almost  the  whole  surface.  The  glaze,  as  a rule, 
stops  short  of  the  foot  in  a wavy  roll  or  large  drops.  Frequently  the 
rim  of  the  bowls,  where  the  glaze  has  run  thin,  shows  a decidedly  clear 
brown  colour. 

Another  variety  of  Chien  ware  has  a coarse  porcellanous  stoneware 
body,  varying  from  a greyish  white  to  buff,  and  sometimes  spotted  with 
black  metallic  particles.  A lustrous  reddish  brown  glaze  of  a very 
metallic  nature  appears  on  vases  on  which  are  reserves  in  the  biscuit 
decorated  with  weapons,  landscapes,  bamboo,  etc.,  painted  with  the 
brown  glaze.  Many  of  the  pieces  of  this  Chien  group  are  said  to  be 
found  in  Honan. 

Bowls  of  Chien  yao  are  especially  suitable  for  the  esthetic  Tea  Cere- 
mony, the  lustrous  black  of  the  glaze  acting  as  a foil  to  the  light  green 
colour  of  the  tea;  and  the  ware,  being  somewhat  thick,  takes  quite  a 
while  to  heat,  but,  when  once  heated,  is  slow  to  cool.  The  Japanese 
have  always  highly  prized  the  tea  bowls  of  this  ware,  which  they  call 
Temmoku,  and  to-day  the  majority  of  them  are  to  be  found  in  Japan 
rather  than  in  China.  This  is  accounted  for  by  the  fact  that  with  the 
passing  of  the  Sung  Dynasty  light  green-coloured  whipped  tea  went  out 
of  style.  The  tea  of  the  Mings  was  boiled  and  of  a dark  colour  which 
looked  better  in  bowls  of  light  shades  or  white  porcelain. 

After  the  Yuan  Dynasty  very  little  is  heard  of  this  ware,  but,  as  far  as 
we  know,  its  manufacture  continued. 

124  Small  bowl,  with  high  sides,  made  of  buff  stoneware  and  covered  with  a thin, 
bluish  black  glaze  almost  completely  concealed  by  another  of  reddish  brown.  The 
glaze  stops  above  the  foot,  and  the  body  is  burned  red  next  to  the  glaze. 

Chien  ware. 

Diameter:  3 inches.  Height:  l15/i$  inches. 

125  Small  cup  of  buff  stoneware  covered  with  a bluish  black  glaze,  splashed  with 
reddish  brown,  which  stops  above  the  base.  At  the  rim,  where  the  glaze  has  run 
thin,  the  buff  body  is  visible. 

Chien  ware. 

Diameter:  3%  inches.  Height:  1%  inches. 

csin 


HAN,  T'ANG  AND  SUNG  POTTERIES 

126  Small  rounded  bowl  of  buff  stoneware  covered  with  a bluish  black  glaze 
over  which  a reddish  brown  has  been  run.  At  the  lip,  where  the  glaze  has  run 
thin,  the  buff  body  is  visible.  The  glaze  stops  above  the  foot. 

Chien  ware. 

Diameter : 4%  inches.  Height : 2 Vs  inches. 

127  Globular  jar  of  buff  stoneware  covered  with  a thick  dark  blue  glaze,  splashed 
with  reddish  brown,  which  ends  in  an  uneven  line  slightly  below  the  centre  of  the 
jar.  At  the  lip,  where  the  glaze  has  run  thin,  the  buff  body  is  visible. 

Chien  ware. 

Diameter:  4%  inches.  Height:  3%  inches. 


128  Globular  jar  of  buff  stoneware  covered  with  a brown  slip  over  which  is  a 
bluish  black  glaze  streaked  with  reddish  brown  and  ending  in  tear-drops  above 
the  foot.  The  lip  is  unglazed,  as  is  also  the  base  of  the  foot  rim. 

Chien  ware. 

Diameter:  6 inches.  Height:  4%  inches. 


129  Six-lobed  plate  of  fine  buff  stoneware  covered  with  a thick  reddish  brown 
glaze  of  silvery  iridescence  and  having  passages  of  green  and  bluish  black.  The 
foot  rim  and  part  of  the  inside  of  the  foot  are  unglazed. 

Chien  ware. 

Sung  Dynasty. 

Diameter:  7%  inches.  Height:  1 % inches. 

130  Small  bowl  with  rounded  sides  and  small  foot.  The  light  buff  ware  is  cov- 
ered with  a purplish  black  glaze,  mottled  with  lustrous  brown  splashes,  having  a 
silvery  sheen.  The  mottling  is  very  close  at  the  bottom  of  the  bowl,  but  gradually 
thins  out  as  it  approaches  the  rim.  The  latter  is  glazed  and  has  a distinct  edge  of 
brown,  both  outside  and  inside.  The  base  and  foot  are  covered  with  a thin  brown 
slip.  This  type  of  bowl  is  called  Temmoku  by  the  Japanese,  who  are  most  appre- 
ciative of  the  beautiful  qualities  which  make  it  peculiarly  well  adapted  for  use  in 
their  Tea  Ceremony. 

Chien  ware. 


Sung  Dynasty. 

Diameter:  31ty0  inches.  Height:  1 % inches. 

(Illustrated) 


131  Small  tea  bowl  with  rounded  sides  and  small  foot.  The  light  buff  ware, 
burned  at  the  base,  is  covered  with  a beautiful  purplish  black  glaze,  thickly  mot- 
tled on  the  inside  with  silvery  spots.  The  rim  is  glazed,  showing  a strong  reddish 
brown  colour  at  its  edge.  This  type  of  bowl  is  called  by  the  Japanese  Temmoku, 


No.  120 

Small  jar  and  cover 
Chiin  Ware — Sung  Dynasty 


SUNG— GHIEN  WARE 

and  the  silvery  spotted  glaze,  known  to  the  masters  of  their  Tea  Ceremony  as  Yu 
teki,  or  “boiling  water,”  is  of  the  greatest  rarity.  This  particular  bowl  can  be  con- 
sidered of  even  greater  importance  than  the  famous  one  in  the  Hayashi  Collection, 
Tokyo,  inasmuch  as  its  condition  is  almost  perfect. 

Chien  ware. 

Sung  Dynasty. 

Diameter:  4 inches.  Height:  1%  inches. 

(Illustrated) 

132  Wide  conical  bowl  with  small  foot  and  six-lobed  rim,  the  latter  being  en- 
cased in  a thin  copper  band.  The  body  is  a finely  manipulated,  creamy  stoneware, 
which  is  covered  with  a beautiful  glaze  of  reddish  brown,  bronze  colour,  with 
passages  of  green,  both  outside  and  inside,  the  latter  having  a soft  silvery-spotted 
patina.  The  glaze  stops  at  the  foot,  the  under  side  of  which  is  glazed.  This  bowl 
is  very  thin  and  is  of  greatest  refinement. 

Chien  ware. 

Sung  Dynasty. 

Diameter:  7%  inches.  Height:  2^4  inches. 

(Illustrated) 


133  Gallipot  vase  with  wide-swelling  shoulders,  the  upper  part  of  which  is 
formed  like  a lid.  The  body  is  a hard,  dense,  spotted  grey  stoneware,  covered 
with  a rich  mottled  brown  glaze  of  metallic  lustre,  relieved  by  reserves  on 
shoulder  and  body,  those  on  the  latter  containing  archaic  weapons.  This  piece  is 
an  early  example  of  the  so-called  “iron-rust”  glaze,  which  was  extensively  used 
during  the  eighteenth  century.  It  has  a vigour,  sturdiness,  and  breadth  of  con- 
ception that  are  characteristic  of  the  greatness  of  the  T'ang  Dynasty.  Possibly 
made  in  Honan  province. 

Chien  type  of  ware. 

Sung  Dynasty  or  earlier. 

Height:  8*4  inches.  Diameter:  5%  inches. 

(Illustrated) 


134  Jar  of  buff  porcellanous  stoneware  coated  with  a creamy  slip  over  which  is 
run  a transparent  glaze  that,  near  the  bottom,  becomes  first  olive  brown,  then  al- 
most black,  and  finally  reddish  brown  over  a black,  which  covers  the  outside  of  the 
foot  in  places.  The  foot  is  burned  a reddish  colour  and  is  unglazed.  A mesh  of 
accidental  crackle  covers  the  upper  part  of  the  jar,  and  the  lip  is  unglazed. 

Chien  ware. 

Diameter:  6%  inches.  Height:  544  inches. 


HAN,  TANG  AND  SUNG  POTTERIES 


LUNG-CH'UAN  WARE 

This  ware  was  made  in  the  district  of  Lung-ch'iian,  Ch'u-chou  Fu, 
province  of  Chekiang.  Although  the  district  had  been  famous  for  its 
potteries  from  the  beginning  of  the  Sung  Dynasty,  it  was  the  Chang 
brothers,  working  in  the  market  town  of  Liu-t'ien,  who  caused  it  to 
become  renowned  throughout  the  Orient.  Each  brother  made  a sepa- 
rate ware:  the  elder,  Ko  yao;  the  younger,  Lung-ch'iian  yao.  The 
former  used  crackle,  while  the  latter  made  his  ware  uncrackled. 

Under  the  Lung-ch'iian  yao  are  two  broad  classes,  the  distinction 
being  that  while  the  one  had  a thin  body  of  fine  white  clay,  the  other 
was  of  a coarser  and  heavier  make.  The  finer  ware  was  called  Chang 
yao,  while  the  other  was  known  by  the  name  of  celadon  in  Europe 
and  martabani  in  Persia.  The  Chang  yao  glaze  was  of  a bluish  green 
colour,  and  through  it  could  be  seen  the  white  of  the  body  in  patches 
where  the  glaze  was  thin.  The  celadon  glaze  varied  from  a greyish  or 
bluish  green  to  yellowish,  brownish  or  pale  apple-green.  These  colours 
were  due  to  the  presence  of  oxide  of  iron,  and  perhaps  cobalt,  in  the 
clay,  which  escaped  in  the  heat  of  the  kiln  and  imparted  a greenish 
tinge  to  the  perhaps  otherwise  colourless  glaze.  Where  exposed  to  the 
heat  of  the  kiln,  the  body  of  these  wares  turned  red  or  reddish  brown. 

The  decoration  was  carved,  etched  with  a fine  point,  or  raised  in  re- 
lief by  pressing  in  an  intaglio  mould  or  by  application  of  small  orna- 
ments separately  formed  in  moulds. 

The  designs  consisted  of  flowers,  flying  phoenixes  in  peony  scrolls, 
dragons  in  clouds  or  waves,  etc.  The  best  and  most  characteristic  deco- 
ration of  this  period  was  a beautiful  free-hand  carving,  executed  with 
admirable  taste  and  spirit  in  bold,  half  naturalistic,  half  idealistic 
sketches. 

At  the  beginning  of  the  Ming  Dynasty  (1368-1644)  the  factories  are 
said  to  have  been  removed  to  Ch'u-chou.  This  ware  was  of  ch'ing  (blue 
green)  colour  with  white  body,  which,  like  the  older  ware,  assumed  a 
red  colour  where  exposed  to  the  heat  of  the  kiln;  but  it  was  not  so  good 


No.  130  No.  131 

Small  brown-splashed  tea  bowl  Small  silver-spotted  tea  bowl 

Chien  Ware — Sung  Dynasty  Chien  Ware — Sung  Dynasty 


ft 


SUNG— LUNG-CH'UAN  WARE 


as  the  old.  The  celadon  industry  in  this  district  is  said  to  have  come  to 
an  end  with  the  Ming  Dynasty  (1644). 

The  colour  of  the  Sung  Celadons  was  more  grass-green  and  of  a 
deeper  shade  than  that  of  the  Ming,  the  latter  being  more  grey  green; 
but  this  test  cannot  always  be  relied  upon.  The  best  test  of  a piece  is 
the  style  of  the  ware,  and  especially  the  boldness  and  freedom  of  the 
carved  designs.  Sung  patterns  used  in  Ming  times  were  apt  to  be  over- 
crowded with  detail  which  was  stale  and  conventional;  and  some  of  the 
celadon  designs  of  a later  style  are  similar  to  those  of  the  blue  and 
white  Ming  porcelains. 

During  the  Sung  Dynasty  (960-1279  a.d.)  and  later,  the  factories  in 
Honan  province  were  also  making  a celadon  whose  body  was  a grey 
stoneware,  but  which  did  not  burn  a reddish  colour  where  exposed  to 
the  heat  of  the  kiln.  The  colour  varied  from  grey  green  to  a brownish 
olive  shade,  and  the  decoration  was  usually  incised  or  impressed  under 
the  glaze.  This  ware  is  often  confounded  with  a type  of  Korai  (918- 
1392  a.d.)  celadon  of  Korea. 


135  Small  round  box  in  the  bottom  of  which  are  three  cups  separated  by  two  lotus 
buds  and  a lotus  blossom  with  stems.  On  the  top  of  the  cover  is  a child’s  figure  in 
low  relief.  The  body  of  the  box  is  a grey  stoneware,  burned  brown  where  exposed, 
and  covered  with  an  uncrackled  celadon  glaze  of  grey  green,  through  which  the 
body  is  visible  on  the  salient  parts.  The  foot  rim  is  exposed,  but  the  inside  of  the 
foot  is  glazed. 

Honan  Celadon. 

Sung  Dynasty. 

Diameter:  3%6  inches.  Height:  1%  inches. 

136  Small  bowl  of  grey  stoneware  covered  with  a grey  green  celadon  glaze.  In- 
side, the  bowl  is  decorated  with  waves  and  three  plunging  fish  incised  under  the 
glaze.  On  the  outside  there  is  a single  line  just  below  the  lip.  The  exposed  base  is 
slightly  burned. 

Honan  Celadon. 

Sung  Dynasty. 

Diameter:  4x/2  inches.  Height:  1 15/1G  inches. 


137  Nonagonal  sacrificial  cup  on  high  reticulated  base,  the  handle  being  formed 
by  a bird  with  sweeping  plumage  perched  on  the  rim.  The  body  of  hard  porcel- 
lanous  stoneware,  burned  brown  where  exposed,  is  covered  with  a thick. 


[89!] 


HAN,  T ANG  AND  SUNG  POTTERIES 

unctuous,  greyish-blue  celadon  glaze,  through  which  the  white  body  is  visible. 
Each  side  is  decorated  with  incised  underglaze  scroll  and  diaper  patterns  of 
bronze  type,  the  scrolls  being  of  different  designs.  In  the  bottom  of  the  cup  is  a 
lotus  bud  with  leaves  incised  under  the  glaze.  The  bird  handle  is  carefully  mod- 
elled, the  plumage,  etc.,  being  indicated  by  incised  underglaze  lines.  This  is  a 
unique  piece,  of  exceptional  design,  and  of  the  highest  quality. 

Sung  Dynasty. 

Diameter:  4%  inches.  Height:  3%  inches. 

(Illustrated) 


138  Graceful  lotus  cup  of  grey  stoneware  covered  with  a grey  green  glaze.  The 
wide  neck  is  decorated  with  carved  leaves,  and  the  body  is  covered  with  a flower 
and  foliage  design,  also  carved,  and,  like  the  above,  beneath  the  glaze.  The  lip  is 
divided  into  six  petal-like  divisions,  the  central  parts  of  which  curve  outward. 
Whitish  lines  divide  the  inside  of  the  cup  into  six  panels.  The  base  of  the  foot  rim 
is  unglazed  and  slightly  burned. 

Honan  Celadon. 

Sung  Dynasty. 

Diameter:  5Ys  inches.  Height:  4%  inches. 


139  Large  conical  howl  of  grey  stoneware  covered  with  a bubbly  grey  green 
glaze.  The  inside  of  the  bowl  is  decorated  with  lotus  blossoms  and  leaves,  ripple 
lines  and  a border  of  scrolled  foliage,  carved  and  incised  with  a fine  point  under 
the  glaze.  The  foot  rim  is  uncovered  and  slightly  burned. 

Honan  Celadon. 

Sung  Dynasty. 

Diameter:  9%  inches.  Height:  4 inches. 


KUANGTUNG  WARES 

Very  little  is  known  about  the  history  of  these  wares,  although  the 
province  of  Kuangtung  has  been  famous  for  its  potteries  from  remote 
times,  one  reference  to  them  going  back  to  the  T'ang  Dynasty  (618- 
906  a.d.).  Another  book  says  that  the  ware  originated  at  Yang-chiang. 
Possibly  the  peculiar  type  created  here  was  later  adopted  by  the  vari- 
ous factories  that  came  into  existence  about  Canton. 

The  usual  ware  is  hard-fired,  the  colour  at  the  base  varying  from 


No.  132 

Large  six-lobed  tea  bowl 
Chien  Ware— Sung  Dynasty 


f 


SUNG— KUANGTUNG  WARE 


dark  brown  to  pale  yellowish-grey  and  buff,  and  the  thick,  smooth 
glaze  is,  as  a rule,  mottled  and  dappled  in  a peculiar  way.  The  colour  is 
often  blue,  flecked  and  streaked  with  grey-green  or  white,  or  it  may  be 
green  with  grey  and  blue  mottling.  Sometimes  the  brown  tints  are 
most  conspicuous,  but  those  highly  prized  have  a general  tone  of  blue. 
The  glaze  may  have  a curdled  appearance,  or,  again,  may  suggest  lava 
that  has  boiled  up.  These  mottled  Kuangtung  wares  probably  date 
back  to  Ming  times. 

Statuettes,  modelled  in  the  round,  have  been  made  in  great  numbers 
at  the  factories  there.  On  these  the  flesh  is  indicated  by  the  unglazed 
biscuit,  over  which  appears  to  be  a brown  dressing  of  ferruginous  clay. 
The  garments,  etc.,  are  covered  with  a rich  glaze  varying  in  colour  from 
crimson-red  flambe  to  pea-green  celadon. 

Another  type,  like  that  in  this  exhibition,  has  a body  of  creamy  grey 
stoneware  covered  with  a “creamy  crackled  glaze  of  t'11  Ting  type,”  but 
of  an  opaque  and  satiny  texture.  The  ornament  on  the  larger  pieces 
generally  consists  of  lotuses  or  peonies,  with  foliage,  in  a wavelike  pat- 
tern and  standing  out  in  high  relief.  On  the  salient  parts  the  colour 
is  a strong  buff.  The  red-splashed  lavender  of  the  Chun  and  Yuan 
wares  was  also  copied  in  this  type,  but  the  peculiar  opaque  glaze  makes 
these  easily  distinguishable  from  the  originals,  and  the  crackle  is  more 
open  and  obvious. 

There  is  a variety  of  Kuangtung  ware  which  was  apparently  intended 
to  imitate  the  old  Chun  pieces — even  to  the  extent  of  incising  numerals 
under  the  base.  In  China  this  is  called  Fat-shan  Chun,- — Fat-shan,  the 
possible  place  of  manufacture,  being  a town  a few  miles  southwest  of 
Canton.  The  biscuit  is  a brownish  grey,  sometimes  concealed  by  a dark 
slip  at  the  base,  and  the  fairly  fluescent  crackled  glaze,  thin  at  the 
mouth  but  running  thick  in  the  lower  levels,  is  of  a pinkish  cream 
colour,  shading  into  lavender  and  flushing  deep  red  on  the  shoulders. 
In  exceptional  cases  the  crimson  predominates.  The  glaze  is  sometimes 
heavily  mottled,  like  the  first  type  described,  and  indicates  that  its 
origin  was  at  the  same  factory.  In  the  bottoms  of  dishes  of  this  type 
the  glaze  has  been  known  to  form  in  deep  pools  of  glass  in  which  “all 
the  changing  tints  of  the  surrounding  glaze  are  concentrated  in  the 

cosn 


HAN,  T ANG  AND  SUNG  POTTERIES 

cavity  in  a crystalline  mass  of  vivid  colour.”  This  latter  class  probably 
does  not  date  back  beyond  the  Ch'ing  Dynasty  (1644-1911  a.d.). 

140  Thinly  potted  hexagonal  cup,  with  flat,  long-looped  handle,  made  of 
huff  stoneware  covered  with  a dark  brown  slip  over  which  is  a crackled  ivory 
glaze,  slightly  tinged  with  pink.  On  the  foot  rim  and  the  salient  parts,  where  the 
glaze  has  run  thin,  the  dark  brown  slip  is  visible.  The  inside  of  the  foot  is  glazed. 

Kuangtung  ware. 

Diameter:  3%  inches.  Height:  1%  inches. 

141  Cylindrical  incense  burner,  on  three  short  legs,  of  creamy  grey  stoneware 
covered  with  a greyish  buff  slip.  Over  this  is  an  opaque  creamy  crackled  glaze  of 
uneven  thickness  and  of  a silky  texture,  which  leaves  only  the  feet  uncovered. 
These  are  completely  coated  with  the  slip,  which  is  also  visible  through  the  glaze 
on  the  salient  parts  of  the  vessel.  The  main  decoration  consists  of  three  large, 
conventionalized  lotuses,  connected  by  stems  and  leaves  in  a wavelike  pattern, 
which  stand  out  in  high  relief.  Above  this  is  a narrow  border  containing  an  ar- 
chaic bronze  design  of  key-fret  and  dragons  in  slight  relief. 

Kuangtung  ware. 

Sung  Dynasty. 

Diameter:  7%  inches.  Height:  9^  inches. 

142-143  Gallipot  vases  of  buff  stoneware  covered  with  a crackled,  creamy  glaze, 
tinged  with  blue,  of  a close,  paintlike  texture.  The  decoration  consists  of  three 
conventionalized  lotuses  and  leaves,  joined  together  by  stems,  forming  a wavelike 
pattern  which  stands  out  in  high  relief.  The  inside  of  the  foot  is  covered  with  a 
creamy,  transparent  glaze. 

Kuangtung  ware. 

Sung  Dynasty. 

Height:  13  inches.  Diameter:  8%  inches. 


Nonagonal  sacrificial  celadon  cup 
Sung  Dynasty 


YUAN  DYNASTY 

YUAN  WARE 


YUAN  DYNASTY 

YUAN  WARE 

The  Yuan  tz'ii,  or  ware  of  the  Yuan  Dynasty  (1280-1367),  as  it  is  called 
of  late  years,  is  obviously  the  same  type  of  ware  as  the  Chun.  It  is 
fairly  common  in  the  form  of  bowls,  shallow  dishes,  and,  more  rarely, 
vases  and  incense  burners.  The  bowls  are  usually  of  conical  form, 
with  slightly  contracted  mouth  and  small  foot,  coated  with  thick,  flues- 
cent  glazes,  which  sometimes  form  in  deep  pools  at  the  bottom  within, 
and  end  outside  in  thick  drops  or  a billowy  line  some  distance  above  the 
base,  leaving  a liberal  amount  of  the  body  exposed  to  view.  The  body 
is  of  the  sha  Vai  class  and  usually  of  coarse  grain,  varying  from  a dark 
grey  to  buff  stoneware  and  soft  brick-red  earthenware,  although 
finer  specimens  are  sometimes  to  be  met  with  which  approach  the  tz'ii 
Vai  class  in  quality.  The  inferior  quality  of  its  body  has  caused  this 
ware  to  be  looked  down  upon  by  the  Chinese,  despite  the  fact  that  the 
glaze  is  frequently  of  singular  beauty  and  of  innumerable  varieties  of 
colour.  Lavender  grey,  dove  grey,  brown  and  grey  green  are  most  fre- 
quent, but  as  the  thickness  of  the  glaze  varies  with  its  downward  flow, 
so  the  colour  changes  in  tone  and  intensity.  There  can  be  no  doubt  of 
the  artistic  merit  of  many  of  these  glazes.  According  to  the  finds  of  Sir 
Aurel  Stein,  pieces  of  this  ware  have  been  uncovered  in  the  ruins  of 
cities  said  to  have  been  occupied  no  later  than  the  twelfth  century  a.d. 
It  is  quite  possible,  therefore,  that  specimens  of  Yuan  tz'u  do  date  back 
to  the  Sung  Dynasty. 

144  Small  bowl  with  slightly  contracting  lip.  The  buff  stoneware  body  is  covered 
with  a transparent  sky-blue  glaze,  relieved  by  spots  of  purple  and  green,  through 
which,  at  the  rim,  the  butf  body  is  visible. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  3%  inches.  Height:  1%  inches. 

C99] 


HAN,  TANG  AND  SUNG  POTTERIES 

145  Small  concave  dish  of  grey  stoneware  burned  reddish  brown  at  the  base.  The 
greenish  blue  glaze,  with  large  crackle,  stops  at  the  foot,  and  is  relieved  by  two 
purplish  passages  near  the  rim  of  the  dish. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  4%  inches.  Height:  1%  inches. 


146  Small  bowl  with  contracted  lip,  made  of  brown  stoneware  covered  with  a 
thick  smooth  glaze  of  creamy  blue  which  is  burned  brown  at  the  lip  and  which 
ends  in  a roll  at  the  foot,  where  the  stoneware  is  a reddish  brown.  A large  crackle, 
both  inside  and  outside,  covers  the  glaze,  the  latter  being  relieved  by  purple  and 
green  spots. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  4%  inches.  Height:  2%  inches. 


147  Small,  round  incense  burner  with  flanged  lip  and  three  short  legs.  The  body 
of  grey  close  stoneware,  burned  reddish  brown  where  exposed  to  the  fire,  is  cov- 
ered with  a frosted  grey-green  glaze,  burned  brown  on  the  salient  parts  of  the 
body,  and  stopping  short  of  the  legs  and  bottom.  The  Pa  Kwa,  or  Eight  Trigrams, 
in  relief,  encircle  the  body. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  4%  inches.  Height:  2%  inches. 


148  Saucer  of  grey  stoneware  covered  with  a thick  glaze  of  grey-blue  relieved  by 
passages  of  purple  spotted  with  green,  and  ending  in  a roll  at  the  foot  of  the 
saucer,  which  is  burned  a buff  colour.  Through  the  glaze,  on  the  salient  parts,  the 
grey  of  the  body  is  visible. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  6%  inches.  Height:  15/16  inches. 


149  Incense  burner  with  three  feet,  flattened,  globular  body,  and  straight  neck 
with  flanged  mouth.  Two  upright,  rectangular  handles  spring  from  the  base  of 
the  neck  and  are  attached  at  the  lip.  On  the  neck  are  six  lotus  flowers  and  leaves, 
modelled  in  full  relief  and  undercut,  whose  stems  hang  down  and  rest  on  the 
shoulders.  The  body  of  hard  grey  porcellanous  stoneware  is  covered  with  a 

noon 


No.  149 

Incense  burner  with  decoration  modelled  in  the  round 
Chun  Ware — Yuan  Dynasty 


> 


) 


YUAN— CHUN  WARE 


beautiful  claire-de-lune  glaze,  showing  brown  on  the  salient  parts.  The  blue  on 
the  bottom  has  a greenish  cast.  The  bases  of  the  feet  are  unglazed.  This  is  a 
unique  piece. 

Chun  ware. 

Yuan  Dynasty  or  earlier. 

Diameter:  7%  inches.  Height:  0>XA  inches. 

( Illustrated ) 


150  Graceful  swelling  jar  with  short  straight  neck  to  which  are  attached  two 
small-looped  handles.  The  body  is  a grey  stoneware,  burned  reddish  brown  at  the 
base,  and  covered  with  a beautiful,  grey-blue  glaze,  very  smooth  and  crackled  in 
horizontal  lines.  On  opposite  sides  are  two  passages  of  purple  containing  frosted 
green  centres,  one  of  which  takes  the  form  of  a duck.  The  glaze  stops  in  a roll 
near  the  foot  of  the  jar;  and  on  the  salient  parts  the  grey  body  is  visible. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  5%  inches.  Height:  4*4  inches. 


151  Conical  bowl  of  buff  stoneware  covered  with  a beautiful  pale  greenish  blue 
glaze  relieved,  on  the  inside  of  the  bowl,  by  two  green  and  purple  splashes.  The 
glaze  stops  short  of  the  foot,  which  is  covered  with  a light  brown  slip.  A copper 
rim  encases  the  lip,  and  the  exterior  of  the  bowl  has  been  stripped  of  most  of  its 
glaze. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  61%e  inches.  Height:  211/1Q  inches. 


152  Conical  bowl  with  slightly  contracted  mouth,  made  of  grey  stoneware  and 
covered  with  a sky-blue  glaze  that  stops  half-way  from  the  foot  in  a thick  roll. 
The  blue  is  relieved  by  a flamelike  passage  of  red  and  purple  on  the  inside  of  the 
bowl.  The  glaze  is  filled  with  small  bubbles,  and  shows  the  grey  of  the  body  at 
the  rim  where  it  has  run  thin. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  67/g  inches.  Height:  2i:%o  inches. 


153  Conical  bowl,  with  slightly  contracted  mouth,  made  of  grey  stoneware  and 
covered  with  a sky-blue  glaze  that  ends  near  the  foot,  which  is  burned  a reddish 


[1033 


HAN,  T ANG  AND  SUNG  POTTERIES 

brown.  Various  passages  of  red  and  purple  are  scattered  over  the  blue,  and  at  the 
rim,  where  the  glaze  has  run  thin,  the  grey  of  the  body  is  visible. 

Chun  ware. 

Yuan  Dynasty. 

Diameter : 7*4  inches.  Height : 3 XA  inches. 

154  Plate  of  hard  grey  stoneware  covered  with  a thick  glaze  of  sky-blue  relieved 
by  passages  of  crimson  and  purple  in  curious  shapes.  At  the  rim,  where  the  glaze 
has  run  thin,  the  grey  body  shows  through.  The  foot  is  uncovered  and  the  biscuit 
is  burned  a reddish  tone  at  the  edge  of  the  glaze. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  5 7/s  inches.  Height:  1%6  inches. 

155  Incense  burner  with  three  feet,  flattened  globular  body,  straight  neck  with 
flanged  mouth,  and  two  upright,  rectangular  handles  with  attachments  of  dragon 
form.  The  body  of  heavy  dark  grey  stoneware,  burned  brown  in  the  unglazed 
parts,  is  covered  with  a thick,  flowing  glaze,  faintly  crackled,  which  ends  in  a bil- 
lowy line,  parts  of  the  feet  only  being  uncovered.  The  applied  relief  ornament 
consists  of  rosettes,  lotus  flowers,  and  lion  masks  over  which  the  olive  brown  glaze, 
streaked  with  milky  blue,  is  run.  A bronze  casing  covers  the  lip. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  7%  inches.  Height:  8 inches. 

156  Large  conical  bowl,  with  slightly  contracted  mouth,  made  of  grey  stoneware 
and  covered  with  a thick  crackled  glaze  of  grey-blue  which  stops  short  of  the  foot. 
The  blue  is  relieved  by  a passage  of  red  and  purple  at  the  rim.  Where  the  glaze 
has  run  thin  at  the  lip  of  the  bowl,  the  grey  body  is  visible,  and  the  foot  is  burned 
a buff  colour. 

Chiin  ware. 

Yuan  Dynasty. 

Diameter:  8%  inches.  Height:  3^2  inches. 

157  Small  flat  dish  with  scalloped  edges  like  petals.  The  body  of  buff  stoneware 
is  covered  with  a frosted,  thick,  grey-blue  glaze,  relieved  by  passages  of  purple, 
which  stops  short  of  the  foot  in  an  uneven  line.  At  the  rim,  where  the  glaze  has 
run  thin,  the  buff  body  is  visible. 

Chiin  ware. 

Yuan  Dynasty. 

Diameter:  5 rf>  inches.  Height:  15/10  inch. 

[104;] 


YUAN— CHUN  WARE 

158  Conical  bowl  with  small  foot  and  slightly  contracting  mouth.  The  body  of 
pale  buff  stoneware,  burned  reddish  where  exposed,  is  covered  with  a thick  blue 
glaze  that  stops  short  of  the  foot  in  an  uneven  line,  and  is  relieved  by  a splash  of 
purple  and  green  near  the  rim.  The  buff  body  is  visible  at  the  mouth  where  the 
glaze  has  run  thin. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  6%  inches.  Height:  2%  inches. 

159  Conical  bowl  with  small  foot  and  slightly  contracting  lip.  The  body  of  pale 
buff  stoneware  is  covered  with  a thick  robin’s-egg  blue  glaze,  which  stops  in  a 
thick  roll  short  of  the  foot,  relieved  by  passages  of  frosted  purple,  blue,  and  green. 
At  the  rim,  where  the  glaze  has  run  thin,  the  buff  body  is  visible. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  7%  inches.  Height:  3%c  inches. 

160  Large  conical  bowl,  contracting  at  the  mouth,  made  of  grey  stoneware  burned 
a huff  colour  at  the  base,  and  covered  with  a grey  glaze  relieved  by  a passage  of 
frosted  dark  red. 

Chun  ware. 

Yuan  Dynasty. 

Diameter:  8346  inches.  Height:  3 inches. 


[105  3 


KORAI  DYNASTY 

KOREAN  WARES 


•> 


KORAI  DYNASTY 

KOREAN  WARES 


Inasmuch  as  the  various  Korean  wares  of  the  Korai  period  (918-1392 
a.d.)  were  for  the  most  part  modelled  after  those  of  the  Sung  Dynasty 
(960-1279  a.d.) > the  two  following  specimens  have  been  included  in  our 
catalogue. 

161  Ovoid-shaped  vase  of  grey  stoneware  covered  with  a grey  slip,  on  which 
flowers  and  foliage  are  sketched  in  a free  and  spirited  manner  in  a blackish  brown 
pigment,  under  a transparent  colourless  glaze.  A collar  of  radiating  lines  sur- 
rounds the  neck,  and  a similar  treatment  is  used  at  the  base  of  the  vase.  The  neck, 
which  has  been  broken,  is  encased  in  a copper  band. 

Egorai  ware. 

Southern  Korai. 

Diameter:  7%  inches.  Height:  10 inches. 


162  Buff  porcellanous  bowl  and  cover,  with  a crackled  creamy  glaze  on  the  in- 
side and  a reddish  brown  glaze  of  metallic  lustre  on  the  outside.  The  bottom  is 
glazed,  but  the  foot  rim  is  uncovered.  This  beautifully  potted  bowl,  made  in 
Korea,  bears  a striking  resemblance  to  some  of  the  Sung  wares. 

Korai  period. 

Diameter:  4%  inches.  Height:  4^  inches. 


C 109] 


a 


D 


b 


V 


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GETTY  CENTER  LIBRARY 


3 3125  00121  8912 


